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THE 



Aineriiiin System oi Dressikint 



BY 



MISS PEARL MERWIN 

Supervisor 

AMfRKAN (OllEdE 

of 

DRESSNAKINd 




PUBLISHED BY 



The American College of Dressmaking 

Kansas City, Mo., U. S. A. 






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COPYRIGHTED I 907 
BY THE 

AMERICAN COLLEGE OF DRESSMAKING 



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PREFACE 

The Science of Dressmaking and Ladies' Tailoring em- 
braces a vast scope of knowledge, much of which because of 
the very nature of the relation which she sustains to the 
home and society, becomes, in a general way, the common 
property of all women. Beginning with the simplest forms, 
and gradually developing chapter by chapter, the more com- 
plicated phases of the profession, the author has studiously 
striven to classify and crystalize this general knowledge into 
a tangible working system. The success of her eiforts will 
depend largely upon the student's ability to apply the in- 
structions given. 

This volume is intended to be at once a complete text 
book for the beginner, a handy guide for the seamstress in 
the home, and a ready reference for the graduate and pro- 
fessional dressmaker. 



CONTENTS 



CHAPTER 1. 
Introduction, Hints, Rules, Front of Waist, Taking 
measurements. Order of taking, neck, bust, waist, front, 
back, under arm, armhole, shoulder and drafting front. 

CHAPTER 2. 

Back of waist. Determining length of back, width of 
side bodies, width of center back. Finding position of back 
bust line. Extension of lines below waist line. Dart rules. 
How to arrange and apportion darts. Neck rules. Dif- 
ferent sizes, etc. Drafting back. 

CHAPTER 3. 
Testing Measurements in Front and Back. Overcom- 
ing errors in measurements. Tracing the linings, fronts, 
back, center back and side bodies. Allowing width of 
seams, etc. Tracing wheel. 

CHAPTER 4. 

Sleeve Measurements. Rules for drafting a sleeve pat- 
tern. Rules for upper part of sleeve, lower part of sleeve, 
length of sleeve, etc. Testing measurements. Tracing lin- 
ings. General instructions on sleeves of all kinds. Draft- 
ing a sleeve. 

CHAPTER 5. 
Different Styles of Sleeves. Shirt waist sleeves, leg- 
o'mutton sleeves, bishop, plain, coat, lace, elbow sleeves. 
Foundation of all sleeves. 

CHAPTER 6. 

Basting and Fitting Lining of Waist. Seams to baste 
first. Shoulder seam, under arm, darts. How to baste 
seams so they will not gap. Basting sleeve seams. Cor- 
recting errors. How to stand. How to pin. Regulating 
darts. Fitting shoulder and armhole. Fitting sleeve lin- 
ing. Length of sleeve. Removing lining and making 
changes. 



CHAPTER 7. 
Stitching Linings and Finishing Seams, Arranging for 
hooks and eyes. Covering same. Boning the waist. Seams 
to bone and how long to cut bones. Putting in bones and 
finishing. Second fitting of waist. Padding and how to use 
it. Finishing the bottom of lining. Use of canvas. Fitting 
a waist lining over a form. 

CHAPTER 8. 
Draping a Waist. The yoke. The lower part. The 
back. Fullness in front and back. Finishing bottom of 
waist. Where yoke joins waist. Lace yokes. Evening 
waists. How to press seams in cloth. How to press velvet 
and silk. How to press sleeves. Hov/ to baste and stitch 
velvet, plush, corduroy, woolen goods, etc. 

CHAPTER 9. 

Shirt Waist. Measurements. Cutting, basting and fit- 
ting. Added fullness for shirt waist, tucks, plaits, etc. 
Under arm seam. Shoulder seam. Finishing seams. Belt 
line. Collar band. Front plait. 

LESSON 10. 
Collars and cuffs. Stock collars. Drafting a stock 
collar. Cutting a sailor and bertha collar. Storm collar. 
Coat collar. Soft collar. Depth of collar. Finishing col- 
lars. Cuffs and how to draft and make them. 

CHAPTER 11. 

Skirt measurements. Waist. Around the hips. 
Length in front. Length on side. Length of back. Draft- 
ing front gore. First side gore. Second side gore. Back 
gore. How to proportion width of gores for different 
measures. Testing skirt measures. Width of skirt. To 
proportion the skirt. Observations to make in taking skirt 
measures. Changes for different forms. 

CHAPTER 12. 

Cutting Lining for Skirt. Making gores. Width of 

seams. Basting skirt lining. How to make corrections. 

Finishing seams. Trimming bottom. Use of canvas. Use 

of haircloth. How to cut and use each. Facing. How to 



use velveteen. Opening in back. Band. Arranging full- 
ness in back. Walking skirts. Measurements. Length of 
back gore. Cutting. Sponging. Shrinking. Cutting goods 
with an up and down, with a plaid, etc. 

CHAPTER 13. 

Making Straps and Bands. Putting on skirt. Stitching 
on bands. Stitching the back seam. Finishing the placket. 
Different ways of finishing the placket. Hooks and eyes. 
Arranging hangings. Pressing. FIVE-GORE SKIRT. 
Cutting width of gores at the hips. Omitting second side 
gore. NINE-GORE SKIRT. Width of gores at the hip, at 
the waist, at the bottom. Width of front gore. Width of 
first two side gores. Width of third side gore. 

CHAPTER 14. 
Circular Skirt. Width of gores at waist and hips. 
Different ways of drafting a circular skirt. Darts at the 
waist line. FLARE SKIRT. Basting and stitching the 
seams. Determining the hip depth for the flat seams. Fin- 
ishing seams. Finishing the bottom of skirt. PLAITED 
SKIRTS. Arranging of plaits. Lengthwise tucks at the 
seams. Allowing for tucks. SHIRRED SKIRTS. Kind of 
shirring. Marking for shirring. Yoke pattern for skirts. 
Accordion plaiting. 

CHAPTER 15. 
Tailor-Made suits. Shrinking and sponging goods. 
Cutting twills and woolens. Cutting coat. Length of coat. 
Basting canvas and goods. Clipping and pressing seams. 
Lining for coat. The collar, cuffs, and sleeves and how 
to arrange them. The skirt. Seams. Placket. Lining. 
Stitching. Finishing. The peplum. How to cut and make 
a peplum. Trimming, etc. Nap on velvet. 

CHAPTER 16. 

Cutting cloaks. Measurements. Tight-fitting jackets. 
Cutting with one dart in front. Lining. Finishing seams. 
Cutting sleeves. Drafting a front with seam running to the 
shoulder. Cutting same. More than three seams in the 
back. Sack coats. Box coats. Finishing unlined coats. 
How to use canvas. 



CHAPTER 17. 
Wrappers. Princesses and Dressing Sacques. Cutting 
a wrapper. Basting and Finishing. Cutting the princess. 
The lining. The front. The first and second side bodies. 
Waist lines. Width at bottom of front and side bodies. 
Center back. Trimming. Dressing sacques. Drafting a 
pattern. Cutting. Fitting. Finishing. 

CHAPTER 18. 

Infants' and Little Girls' Dresses. Little Boys' Cloth- 
ing. Drafting patterns for an infant's first outfit. Dresses. 
Slips. Skirts, Wraps, etc. Little Wraps. Drawers. Night- 
gown. Waist. Sleeve. Collar. Little Boys' Clothing. 
Sailor waist. Blouse waist. Buster Brown suits. Pants. 
Collar and band. 

CHAPTER 19. 

Muslin Underwear. Drawers. Drawers band. Un- 
derskirt. Yoke for underskirt. Nightgown. Sleeve for 
gown. Chemise. Corset cover. Seamless Corset cover. 
Combination suit. Stitches. 

CHAPTER 20. 
Selection of Materials and Designing. 

CHAPTER 21. 
Boys' Pants. Taking Measurements. Waists, seat 
width, outside length, inside length, knee. Drafting front 
of pants, drafting back of pants. Pockets. Fastening. 
Fininshing. 

CHAPTER 22. 

Stitches. Basting, running, back-stitch, overcasi ing, 
over-handing, hemming, cat-stitching, feather-stitching, 
hem-stitching. French hem, French knots, buttonholes, eye- 
lets, loops, sewing on buttons, button molds, 

CHAPTER 23. 
Bias Bands and Folds, Circular Flounces, Graduated 
Circular Flounces, Circular Yoke, Girdles, Cording, Shir- 
rings, Tucked Shirring, French Shirring or Gathers, Ruch- 
ing, Pinking, Mode of applying Shirred Trimmings, Single 
Side-plaits, Single Box-plaits, Double box-plaits, Applying 
Fur Trimming. 



CHAPTER 24. 
Fitting up a Dressmaking Shop. Location. Room, 
Space, Reception room, sewing room and fitting room. Fur- 
nishings. How to Construct a Form for one's own use. 

CHAPTER 25. 
Household Recipes. Washing flannels and blankets. 
How to wash an infant's underv/ear. How to clean and 
Keep Lace. Cleaning Delicate Fabrics. To restore the 
finish to old goods. To make old black Cashmere look new. 
To restore color to faded ribbons. Washing cotton goods 
without fading. To restore color destroyed by acid. Clean- 
ing velvets. Cleaning kid gloves. 



CHAPTER 1. 

Introduction, Hints, Rules, Front of Waist, Taking 
measurements. Order of taking, neck, bust, waist, front, 
back, under arm, armhole, shoulder and drafting front. 



INTRODUCTION. 

For a great many years much has been known of mak- 
ing beautiful tapestries, embroideries and needlework, but 
the great problem of putting the art of plain sewing on a 
scientific basis and making it a part of woman's education 
is just now being solved. To meet the growing demand for 
more practical methods and to supply the long felt want that 
has been but sparingly met by the use of patterns, the 
American College of Dressmaking has spared neither time 
nor expense in the preparation of these lessons. 

Since in any work a thorough understanding of the 
rudiments is essential, so in sewing the first step is to im- 
plant those elements and principles which are the founda- 
tion of all needlework, and each part should be so thor- 
oughly mastered that the next becomes easy. Thus we 
have arranged a course of twenty lessons so systematically 
that each succeeding lesson is a natural stepping stone to 
what follows. 

Study these lessons carefully and diligently, as much 
depends upon the aptness, energy and spirit with which you 

13 



enter into the work. You cannot become a successful dress- 
maker unless you manifest every interest in the study and 
put forth every effort to carry the work through from start 
to finish without dragging. 

Nor do we want you to rush through with the course 
with a view to finishing in the shortest possible time, but 
rather to study each lesson until you are thoroughly fa- 
miliar with every part of it before taking up another. If 
at any time there are any points that you do not perfectly 
understand to your own satisfaction, write and ask us and 
the information will be cheerfully and promptly given. 

If at all possible, arrange your work so that a certain 
time, say an hour or two, more or less, each day may be set 
aside for this special study. Permit no other task or duty to 
take its place. If possible it is well to have a little room 
that you can call your study and sewing room where you 
can withdraw from other duties and apply all your energies 
to the work in hand. Keep everything that pertains to 
sewing in this room. You will find it very convenient. Pro- 
vide yourself with a good tape, yard stick, tracing wheel, a 
sharp pair of scissors and a good pencil. 

HOW TO PROCEED. 

First — Study the lesson carefully, comparing instruc- 
tions and accompanying drafts. (You will observe that the 
instructions tell how the large draft is made.) 

Second — With the lesson and draft before you for refer- 
ence and comparison, take a sheet of wrapping paper and 
draft a pattern exactly like the large printed one. 

Third — Draft ten other patterns, using different meas- 
ures each time. (This is not required, but we strongly 
recommend it. One of the main secrets of the success of 
our graduates is that they knoio the system, because they 
learned it well by much practice.) 

TAKING MEASUREMENTS. 
Just a word of caution about taking measurements be- 
fore entering upon the lesson proper. Strange as it may 
seem, there is nothing more important in dressmaking than 
the taking of correct measurements. It matters not how 
nicely you have drafted the pattern or how carefully you 
have put the different parts together, you cannot turn out 

14 



a satisfactory piece of work unless the measuring was ac- 
curately done. This requires practice — much practice. 
Practice as much as possible until you have become perfectly 
familiar with every detail. 

Observe very closely the form of the person whose 
measures you are taking. This is very essential as different 
forms have different characteristics of contour. Two per- 
sons may have the same measurements exactly, yet their 
forms be so different that a pattern that will fit one may not 
fit the other at all. For instance, two persons may each 
have 38 bust measure ; one of them may have a full, rounded 
bust and a narrow back, while the other may be flat in front 
with large protruding shoulder blades and a deep hollow 
in the back, where the measure is taken up. 

For practice it is well to take the measures of as many 
different persons as possible. Before beginning to take 
measures, tie a cord tightly around the waist at waist line 
and take the measure to the bottom of this cord. Pay no 
attention to the seams in the waist of the person whose 
measures you are taking. They may or may not be correct. 
Always take the measures in the order given below, and 
write each measure down in same order. For recording 
measures, use the accompanying blank. For practice meas- 
ures you can extend this blank as far as you like, ruling 
blank paper and pasting it on at the bottom . 

THE WAIST MEASURE. 

The American System uses the following ten measures 
for the waist: 

First, neck; second, bust; third, waist; fourth, front; 
fifth, back; sixth, chest; seventh, width of back; eighth, 
under arm ; ninth, armhole ; tenth, shoulder. 

1. Neck measure: This measure is taken around the 
neck directly under the chin. (See Line 1, Figs. 1 and 2.) 

2. Bust measure : This measure is taken around and 
over the fullest part of the bust, having the tape line well 
up under the arms, and bringing it to the center of the 
back. This may be taken as tight as desired. (See Line 2, 
Figs. 1 and 2.) It is well to stand directly behind the per- 
son in taking this measure. 

15 



3. Waist measure: Pass the tape around the waist 
line, drawing it very snug and tight. (See Line 3, Figs. 1 
and 2.) 

4. Front measure: Place the end of the tape line on 
the prominent bone at the back of the neck; pass the line 
over the shoulder near the base of the neck and down over 
the fullest part of the bust to the waist line, drawing it 
snug. This measure is taken from the back ot the neck 
to get the length of the front from the shoulder down to 
waist line. It might be taken from the shoulder, but as 
there is no set or determined point from which to take the 
measure on the shoulder, we take it from the back of the 
neck. (See Line 4, Fig. 1.) 

5. Back measure : Measure from the prominent bone 
at the back of the neck to bottom of waist cord. Allow 
plenty of room, as too short a measure gives a low neck in 
the back. (See Line 5, Fig. 2.) 

6. Chest measure: This measure is taken across the 
chest, from armhole to armhole, midway between the base 
of the neck in front and bust line. (See Line 6, Fig. 1.) 

7. Width of back: This measure is taken across the 
back, from armhole to armhole, about midway between base 
of neck in the back and bust line. (See Line 7, Fig. 2.) 

8. Under arm measure : Place the end of the tape line 
close up under the arm and measure straight down to the 
bottom of waist cord. (See Line 8, Figs. 1 and 2.) The 
arm should be dropped naturally at the side while this meas- 
ure is being taken. 

9. Armhole measure: Pass the tape around under 
the arm and bring it up to the shoulder. This measure 
should be taken very tight, or the draft will be too long 
from bust to shoulder. It drafts out larger than taken. 
It is the tightest measure we take, and should not be more 
than two inches larger than neck measure. (See Line 9, 
Figs. 1 and 2.) 

10. Shoulder measure : Measure from the base of the 
neck at the side, to shoulder point. This measure can be 
taken as long as desired, depending on the prevailing style. 
(See Line 10, Figs. 1 and 2.) 

The draft used in this lesson is made from the follow- 
ing measurements: Neck, 12 inches; bust, 36 inches; waist, 

i6 



24 inches; front, 21 inches; back, 15 inches; chest, 14 
inches ; width of back, 14 inches ; under arm, 8 inches ; arm- 
hole, 13 inches; shoulder, 5 1-2 inches. 

DRAFTING FRONT OF WAIST. 

Measure in three inches from the left edge of the 
paper and down two inches from the top, and draw a per- 
pendicular line to the bottom of the paper ; this we will call 
Line 1. Measure down from the top of this line 21/2 inches 
and make dot A ; also measure down on this same line one- 
fourth of the neck measure and make dot N. From the top 
of line 1 draw a horizontal line to the right parallel with the 
top edge of paper ; mark this Line 2. From the left end of 
Line 2 measure to the right 21/2 inches and make dot M. 
Dots N and M are the ends of the neck curve. (Rules for 
different neck measures are given in Lesson 2.) From dot 
M measure out on Line 2 to the right, the length of the 
shoulder measure, and make a dot ; then drop or lower this 
dot 11/2 inches and mark it S, for shoulder point. (This is 
called the shoulder drop, and usually averages about IV2 
inches. However, if the person for whom you are drafting 
has very sloping shoulders, the drop will be two inches; 
but if the shoulders are high and square, one inch will be 
sufficient. The form must be observed when taking the 
measures.) 

Draw a line from dot M to dot S and mark this Line 3 
— the shoulder line. From dot A measure down on Line 1 
one-half the armhole measure and make dot B. From dot 
B measure out to the right one-fourth of the bust measure 
and make dot C; then measure out one inch further and 
make dot D. Draw a line from dot B to dot D through 
dot C. This is the bust line. Mark it Line 4. 

(The draft we use for this lesson is for one-half the 
front, and, as the front should be a little wider than the 
back, we add an additional inch to one-fourth of the bust 
measure. By using just one-fourth of the bust measure, 
the line would come directly under the arm, but by adding 
the one inch it comes a little past.) 

From dot D measure straight down the length of the 
under arm measure and make dot E. Then draw curved 
line 5 from dot D to E and extend it below dot E about 

17 



three inches, or, with the aid of the curved ruler, draw Line 
5, having dots D and E on ruler respectively on dots D and 
E on draft. 

Now measure down 414 inches from dot B on Line 1 
and make dot F; also measure down 214 inches from dot D 
on Line 5 and make dot G. Draw Line 6 from dot F to 
dot G. This is the dart line. From dot M draw line 7 
straight down — parallel with Line 1 — 2 14 inches shorter 
than the front measure. This is the front measure or front 
line. (See draft.) 

(You will remember that we took the front measure 
from the prominent bone at the back of the neck across the 
shoulder at the base of the neck and down in front to waist 
line. Now this 21/2 inches we take off when drawing Line 
7 is the width of the neck from the prominent bone around 
to the shoulder, and as we are only drafting from the 
shoulder, Line 7 should be 21/2 inches shorter than the origi- 
nal front measure. Take off 2i/^ inches when the neck 
measure is from twelve to fifteen inches; when it is below 
twelve inches take off two inches ; when above fifteen inches 
take off 3 inches.) 

Now draw Line 8 from dot E to the end of Line 7 and 
on to Line 1. This is the waist line. (Line 8 in different 
measures will come in different positions. Sometimes when 
the front measure is quite short it slants up. When this oc- 
curs, if the darts above the waist line appear too short, 
move Line 6 a little nearer Line 4, using your own judg- 
ment as to how far to move it.) 

The top of the first dart is determined by the point 
where Line 7 crosses Line 6. Make dot H on Line 6 214 
inches to the right of the junction of Lines 6 and 7 ; this is 
the top of second or back dart. The first or front dart is 
n arly always one and one-half inches wide. To get the 
width of back dart, find the difference between the bust and 
waist measure and use one-fourth of the difference for the 
width. Rules regarding darts will be given in the following 
lesson. 

Make a dot on Line 8 each side of Line 7 one-half of 
first or front dart's width, and draw lines from these dots to 
junction of Lines 6 and 7, and mark these Lines and 10 

18 



respectively. Make a dot on Line 8 three-fourths of an 
inch to the right of the back edge of the front dart; now 
measure out to the right of this dot on Line 8 one-fourth of 
the difference between bust and waist measures and make 
another dot, and draw lines from these last two dots to dot 
H ; mark these Lines 11 and 12 respectively. Finish darts 
below the waist line on same reverse slant by measuring 
down below the waist line the same distance that the top 
of the darts are above the waist line ; that is, make the cen- 
ter line of each dart the same length below the waist line 
as above, then draw the other lines. (See draft.) 

Now find the midway point between dots B and N and 
make dot I. From dot I measure out to the right one-half 
of the chest measure and make dot J. Now draw a line 
from S to J and curve on down to C ; or, with the aid of the 
curved ruler, draw the armhole, placing dots S, J and C on 
ruler respectively on same dots on draft, allowing the curve 
to come to a point about one-fourth inch above dot D. Con- 
nect this point with dot D. Also use the curved ruler for 
drawing the neck curve. If the neck measure is 12 inches 
place the 12-inch lines on ruler on dots M and N on draft; 
if 13-inch neck, place the 13-inch lines on ruler on dots M 
and N, and so on. If a swell front is desired, place dot N 
on ruler on dot N on draft and let the waist line on ruler 
meet the waist line on draft and draw Line 13. (See draft.) 

This completes your first lesson. If there are any 
points therein not entirely clear to you, frankly write and 
tell us what they are. We guarantee to satisfy you in every 
particular, and want you to feel perfectly free to ask us 
questions at any and all times. 

We do not send the curved rulers for continuous use, 
still if you prefer you may use them on every pattern you 
draft. With reasonable care they will last you a lifetime. 
They are sent simply to give you a definite idea of the gen- 
eral outline of the different curves and to use for practice 
until you have a perfect picture of the curves absolutely 
fixed in your mind, and can make them off hand without 
any guide whatsoever. These curved rulers are made, of 
course you understand, to fit the measures used in this draft 
only. The measures used in the draft accompanying this 

19 



lesson are a fair average. For any other measures, of 
course, the curves will vary somewhat. When this occurs 
and the curve you wish to draw is larger than the curved 
ruler, place the ruler at the lower part of curve and draw a 
part of the way up, then move the ruler up and continue the 
line. 

We strongly urge that you draft at least ten patterns 
from that many different sets of measures ; that is, of ten of 
your friends. You will be surprised at the rapidity of your 
improvement in making the curves as you advance on each 
new pattern. After drafting these ten patterns you ought 
to be able to make the curves with comparative ease. Re* 
member the three things of greatest importance in this les- 
son are: (1) Taking measures correctly, (2) practicing 
curves, and (3) practice. 



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CHAPTER 2. 
Back of waist. Determining length of back, width of 
side bodies, width of center back. Finding position of back 
bust line. Extension of lines below waist line. Dart rules. 
How to arrange and apportion darts. Neck rules. Dif- 
ferent sizes, etc. Drafting back. 

NOTE 

(Proceed as in the first lesson, that is, first study the 
lesson with the draft before you for comparison; second, 
using the same measurements, make a draft exactly like the 
one accompanying the lesson ; third, we advise that for prac- 
tice you make at least ten other back drafts from that many 
different sets of measurements. Use the accompanying 
measure blank in which to record them .) 

DRAFTING BACK OF WAIST. 

The draft used with this lesson is made from the same 
measurements as given in previous lesson, but for your con- 
venience, we will repeat them here : 

Neck, 12 inches; bust, 36 inches; waist, 24 inches; 
front, 21 inches ; back, 15 inches ; chest, 14 inches ; width of 
back 14 inches; under arm, 8 inches; arm hole, 13 inches; 
shoulder, 51/2 inches. 

Measure in one inch from the left side of the paper and 
down one inch from the top and draw a perpendicular line 

24 



the length of the back measure plus one-fourth of an inch ; 
mark this Line 14. From the top of Line 14 draw a hori- 
zontal line to the right, parallel with the top edge of the 
paper, the length of one-fourth of the bust measure minus 
one inch ; mark this Line 15. 

(You remember that in the front draft we used one- 
fourth of the bust measure and added 1 inch to allow the 
under arm seam to come a little past the center under the 
arm, because we wanted the fronts a little wider than the 
back. Since we used one-fourth of the bust measure and 
added one inch in front, we will use one-fourth of the bust 
measure minus one inch for the back.) This line is the 
same length that the bust line in the back will be. 

Now draw a line straight down from the right end of 
Line 15 the same length as Line 14 ; mark this Line 16. Con- 
nect the lower end of Line 14 with the lower end of Line 16 ; 
mark this Line 17. This is the waist line. 

Measure down one-fourth of an inch on Line 14 from 
the top and make dot K ; also measure down 2 inches from 
the top of this same line and make dot L. This is for the 
shoulder slant. From the left end of Line 15 measure to the 
right 2 inches and make dot 0. Dots K and are the ends 
of the neck curve. Draw a slight curve from dot K to dot 0. 
From dot L draw a line straight across to Line 16 parallel 
with Line 15 ; mark this Line 18. Now place the end of the 
yard stick at dot and let the length of the shoulder meas- 
ure fall on Line 18 and draw Line 19 — the shoulder line. 
(See draft.) Make a dot where Lines 18 and 19 meet and 
mark it dot P. 

Measure up from the lower end of Line 16 the length of 
the under arm measure plus one-fourth of an inch and make 
dot R. Measure up the same distance on Line 14 and make 
dot T. Draw a line from dot T to dot R ; mark it Line 20. 
This is the bust line. 

(You remember that in drafting the front, when draw- 
ing the arm hole we let it come to a point one-fourth of an 
inch above dot D and then connected it with the under arm 
measure or Line 5. That is the reason we add one-fourth of 
an inch to the under arm measure in the back — to make it as 
long as the under arm measure in the front since the two 
join together.) 

25 



Find the midway point between dots T and L and make 
dot U at that point. From dot U measure out to the right 
one-half of the width of back measure and make dot V. 
Now draw a curved line from P to V and curve on down to 
R, or, with the aid of the curved ruler draw the arm hole, 
placing dots P, V and R on ruler respectively on same dots 
on drafts. 

Find the width of the back at the waist line and take it 
out of the center of Line 17. To do this measure Line 8 in 
the front draft omitting the darts; that is, measure from 
Line 1 to Line 9, skip the front or first dart and measure the 
space between the darts, skip the second dart and measure 
from Line 12 to Line 5. Substract this from one-half of the 
waist measure which will leave the width for the back. 
Take this out of the center of Line 17, leaving the same 
amount on each end. 

The back is divided into three parts — center back, and 
two side bodies. The center back is usually IV2 inches wide 
at the waist line except when the waist measure is quite 
large; then it may be made two inches. 

(In the front drafting Line 8, omitting the darts, we 
will say, measures six inches. One-half the waist measure, 
in this case, is twelve inches, which, minus the six inches of 
the front, leaves six inches for the width of the back at waist 
line. The length of Line 17 in this draft is eight inches. 
Subtracting six inches for the width of the back, leaves two 
inches to take off of Line 17 — one inch at each end.) 

So make dot W on Line 17 one inch from Line 14 ; also 
make dot X on Line 17 one inch from Line 16. Then draw 
a line from dot K to dot W; mark it Line 21. This line rep- 
resents the true back measure. For round shoulders draw 
Line 21 to dot T. With the aid of the curved ruler draw a 
curved line from dot R to dot X, having dots R and X on 
ruler respectively on same dots on draft, letting it extend 2 
inches below waist line ; mark this Line 22. This is the true 
under arm measure. (See draft.) 

Now mark off the center back and side bodies on waist 
line or Line 17. Make the center back II/2 inches wide; so 
from dot W measure to the right II/2 inches and make dot Y. 
Then divide the remaining space between dot Y and dot X 

26 



into halves and make dot Z at the midway point. (See 
draft.) To get the width of the side bodies in the arm hole, 
use one-third of the arm hole for the center back, and make 
dot N at this point. Divide the balance into halves and make 
dot M at the midway point. Then with the aid of the curved 
ruler draw Lines 23 and 24, placing dots N, M, Y and Z on 
ruler respectively on same dots on draft, extending Lines 23 
and 24 about two inches below the waist line. 

NECK RULES. 

The rules and draft given in the first lesson are for a 
12-inch neck measure. In every case use one-fourth of the 
neck measure to get dot N, and always measure down on 
Line 1 the length of that measure for dot N. Now dot M in 
front draft is for a 12-inch neck measure and is placed 2i/^ 
inches from the left end of Line 2. For a 13-inch neck, place 
dot M 2% inches from the left end of Line 2 ; for a 14-inch 
neck, place dot M 3 inches from the left end of Line 2, thus 
adding one-fourth of an inch for every additional inch of 
neck measure over twelve inches. When the neck measure 
is more than fifteen inches, it is better to add one-fourth of 
an inch to the back by placing dot 2l^ inches from the left 
end of Line 15. 

If the neck measure is eleven inches, or less than the 12- 
inch measure, reduce in the same proportion ; that is, for an 
11-inch measure, place dot M just 2^4 inches from the left 
end of Line 2; for a 10-inch measure, place dot M 2 inches 
from the left end of Line 2. When the neck measure is less 
than 10 inches make dot 0, 1% inches from the left end of 
Line 15. 

DART RULES. 

In forms with a very large bust and waist, place the 
darts just a little over three-fourths of an inch apart on the 
waist line, moving the top of the back dart the same distance 
also. If the darts are placed one-fourth of an inch further 
apart on waist line than given in the first lesson, place the 
top of the back dart one-fourth of an inch further out also. 

When there is a very great difference between bust and 
waist, and the back dart is over 3 inches, make the front 
dart enough wider to take up a part of the excess over 3 
inches. The back dart should not be over 3i/4 inches wide. 

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28 



CHAPTER 3. 
Testing Measurements in Front and Back. Overcom- 
ing errors in measurements. Tracing the linings, fronts, 
back, center back and side bodies. Allowing width of 
seams, etc. Tracing wheel. 

TESTING MEASUREMENTS. 

Before proceeding any further with the drafting, it is 
necessary to test the measurements of the front and back 
drafts to see if they correspond with those you have taken. 
Of course, if they were taken correctly and you made the 
right calculations when drafting, you will find them just 
exactly the same when testing them. Test them in the same 
order as they were taken and you will not be so apt to miss 
any of them. 

First test the neck measure. Begin at dot N in the 
front draft and measure the neck curve up to dot M, being 
very careful not to let the tape line slip at any time; then 
measure from dot K to dot in the back draft. Twice this 
measure will give the entire neck measure, as this is only 
one-half of the waist. This measure will test out from one 
to two inches larger than the original neck measure. You 
will remember that this measure was taken around the 
neck airectly under the chin. Now as the base of the neck 
is from one to two inches larger than at the top, so the 
drafting must test out more than the measure taken. 

29 



Next test the bust measure by measuring from dot B 
to dot D in front draft ; then measure Line 20 in back draft 
from Line 21 to dot R. This measure should test out very 
nearly correct, if you made the right calculations in finding 
one-fourth of the bust measure and adding one inch. The 
short distance cut off of Line 20 in drawing Line 21 will 
not interfere with the fitting. 

Now test the waist line. Measure Line 8 from Line 1 
to Line 9, skip front dart and measure the space between 
the two darts, skip the second dart and measure from Line 
12 to Line 5. Then measure Line 17 from dot W to dot X. 
Twice this amount should give the original waist measure. 
If the measure tests out too large, take the back dart up a 
little and make Line 17 a little shorter by moving Line 22 
a little nearer Line 24. If it tests out too small, let the 
back dart out a little and make Line 17 a little longer by 
moving Line 22 a little nearer Line 16. 

Test the front measure by measuring Line 7 from dot 
M to Line 8 and then add 21/2 inches for the width of the 
neck from the prominent bone at the back around to the 
shoulder which was subtracted when drafting. 

Measure Line 21 from dot K to Line 17 to see if it cor- 
responds with the original back measure. Also test the un- 
der arm measure by measuring Line 5 from dot D to dot E. 

Test the shoulder by measuring from dot M to dot S 
in front draft and from dot to dot P in back draft. These 
measures will always test out a little larger than taken. 

TRACING THE LINING. 

Now that you have made the drafts and tested the 
measures and know them to be correct you are ready to 
trace and cut the lining. This requires a tracing wheel. 
You can trace the front just as it is drafted, but each piece 
of the back must be traced separately if you desire a seamed 
lining. You will need about two yards of lining for a waist. 
Use the lining crossways of the material and it will not 
stretch out. A very safe way is to fold the lining through 
the middle, so that the ends will come together, pinning it 
securely, so that when tracing it will not slip, and both 
fronts will be traced exactly alike. This is very essential, 
for if the fronts are not just alike, the waist is apt to twist. 

30 



Lay the front draft on the lining with Line 1 about 1^4 
inches from the ends of the lining. Pin the draft to the 
lining in several places. Trace the waist line or Line 8 first. 
Then trace Lines 1 and 5, begining at the waist line and 
tracing up; also trace the dart lines in the same manner, 
tracing Line 9 first, then Lines 10, 11 and 12 from the 
waist line up. Now trace the neck curve, beginning at dot 
N and trace to dot M ; also trace the arm hole, beginning at 
Line 5 and tracing up to dot S ; then trace Line 3 from dot 
S to dot M. This finishes the front tracing. 

Take the draft off and cut out the lining. Leave the 
114 inches on the front line or Line 1 for hems. Allow % 
of an inch for seams on Lines 5 and 3. Cut the arm hole 
and neck curves in the tracing. 

Now place the back draft on the double lining, being 
very careful to have the waist line, or Line 17, on a straight 
thread of goods. Trace the waist line first, then Lines 21 
and 23, always beginning at the waist line and trace up. 
Next trace the neck curve from dot K to dot 0, then the 
arm hole from dot N to dot P, then trace Line 19. Trace 
Lines 21 and 23 about two inches below the waist line, be- 
ginning at Line 17 and tracing down. 

Remove the draft and cut out the center back. First, 
cut Line 21, allowing three-fourths of an inch for a seam. 
Next cut Line 23 and allow one-half inch for a seam; then 
cut Line 19, allowing three-fourths of an inch for a seam. 
Cut the neck and arm hole in the tracing. 

Now place the draft back on the lining, being sure to 
put the waist line on a straight thread of the goods, and to 
have the lining pinned securely together. Trace off the 
form next to the center back, tracing the waist line first. 
Then trace Lines 23 and 24, remembering to trace up from 
the waist line. Next trace the arm hole from dot M to dot 
N, then trace Lines 23 and 24 about two or three inches be- 
low the waist line, beginning at the waist line and tracing 
down. 

Remove the draft and cut the curved Lines 23 and 24, 
allowing one-half inch on each line for seams. Cut the arm 
hole in the tracing. 

Lay the draft back on the lining, putting the waist line 

31 



again on a straight thread of the goods and trace off the 
next side form. 

Trace the waist line first, then Lines 24 and 22, always 
tracing up from Line 17. Next trace the arm hole from 
dot R to dot M, then trace Lines 24 and 22 about two or 
three inches below the waist line, tracing down from the 
waist line. 

Remove the draft and cut out this form. First cut 
Line 24, allowing one-half inch for a seam, then cut Line 
22, allowing three-fourths of an inch for a seam. Cut the 
arm hole in the tracing. 

If you prefer to cut a paper pattern first from your 
draft before laying draft on the lining, it may be done in 
the following manner : Place the front draft on a piece of 
paper and leave a margin of II/2 inches at Line 1. Trace 
according to instructions as given for tracing the lining. 
Cut the neck and arm hole curves in the tracing. Allow 
three-fourths of an inch for seams when cutting Lines 3 
and 5. Cut as far below the waist lines as you wish the pat- 
tern to be. 

Place the back draft also on the paper just as the in- 
structions on the lining direct and trace the center back 
first, then remove and cut. Then put the draft back on the 
paper and trace the form next to the center back; remove 
draft and cut, allowing the same amount for seams as given 
for the lining. Proceed in the same way with the next form. 

If your lining does not happen to be in one piece, as is 
sometimes the case, you will find a paper pattern much 
more convenient to use. Always be sure to have the two 
front edges on the straight of the goods, and be very care- 
ful to have the waist lines in the center back and both side 
forms on a straight thread of the goods; otherwise the 
waist will twist. In using the paper pattern, remember to 
trace the waist lines, seams and darts as you did with the 
draft, as you will need these tracings in the lining to baste 
by. 

Be very careful when tracing to begin right at the 
waist line to trace up or to trace down. If you do not, when 
cutting you will be apt to make the waist shorter or longer 
and also make it larger around the waist. 

32 



It has been stated that you should cut the arm hole 
and neck line in the tracing but it is better to leave one-half 
inch on these lines also. Then if they are too small they 
can be cut out more. It is a good idea never to cut out the 
neck curve before the collar has been pinned or basted on, 
for the front should be left as high as possible to maintain 
the round shape. This is very important. Of course, cut 
out enough so that the front will fit up around the neck 
fairly well. 

IRREGULARITIES IN DRAFTING. 

Occasionally when you are taking measurements you 
will find a person who is more developed on one side than on 
the other. In many such cases, padding will be advisable, 
but sometimes you will find it necessary to take measures 
for each side and make two different drafts according to 
each set of measurements. This, however, is very rare. 

You are also apt to have to draft patterns for persons 
with enlarged necks, but with medium busts and waists. 
First, draft a pattern as though the neck was normal, using 
a neck measure about the same as the arm hole measure, 
and a shoulder measure in comparison with the other 
measures. Then take the neck and shoulder measures as 
they really are and apply them to neck curve and shoulder 
line on draft and make each long enough to correspond with 
"enlarged" measures. In this way you keep the shoulder, 
front and arm hole lines in their proper proportions. 

When taking the measurements of a round shouldered 
person, the back measure is extra long while the measure 
from the point of the shoulder to the bottom of the waist 
is shorter in proportion to the back measure than it is in a 
straight back; therefore when fitting a waist on such a 
person it will bulge in the arm hole. This can be partly 
overcome in the cutting if you will lay a small dart in the 
pattern in the arm hole in the back, letting the dart run 
out towards the center of the back; if there is still fullness 
there when fitting, it can be more easily remedied. When 
cutting the lining, allow wider seams in the back as the 
round shoulders are wider and require more room than the 
normal back. It is also a good idea to take a long shoulder 
measure and then when fitting, if it is too long, it can be 
cut off, while if it were too short it would have to be pieced. 

33 



If the person is hollow between shoulder blades, and 
the blades are very prominent, the back measure will be 
shorter in the center than it would be two inches at either 
side, so be very careful to take a long back measure on such 
a person or the lining will come low in the back of the neck, 
the shoulder blades taking up the length. 

In drafting a pattern for fleshy forms, it is sometimes 
necessary to use three under arm pieces. Draft the front as 
directed in Lesson 1 until you come to the extension of Line 
5 below the waist line; do not extend this line but draw a 
new Line 5 from dot C straight down to the waist line, 
parallel with the old Line 5, and make the extension below 
the waist line from the end of the new Line 5. 

Draft the back as directed in Lesson 2 until you come 
to the division of Line 17 and the arm hole for the 
side bodies and center back. Make the center back on Line 
17 from one and three-fourths of an inch to two inches 
wide. Use one-third of the balance of Line 17 for the width 
of the first side body and a little over one-half of the re- 
maining for the width of the second side body making dots 
at the division points. 

Use one-third of the arm hole for the width of the 
center back, and a little more than one-third of the remain- 
ing for the width of the first side body, and a little over 
one-half of the balance for the width of the second side 
body, making dots at the division points. Draw Lines 23 
and 24 from the first and second dots on Line 17 to the 
first and second dots in the arm hole, and draw a new Line 
22 from the third dot on Line 17 to the third dot in the arm 
hole. 

Now cut off the space between the two Lines 22, also 
between the two Lines 5 in the front; join these two pieces 
together and lay on a piece of paper and trace around the 
outside edges and make the hip curve; trace the waist line 
and then cut out, allowing for seams. After tracing the 
second side body and front, do not forget to allow for seams 
where you cut off the two pieces to form the third side 
body; also give a curve over the hip in the second side 
form. 

34 



CHAPTER 4. 
Sleeve Measurements. Rules for drafting a sleeve pat- 
tern. Rules for upper part of sleeve, lower part of sleeve, 
length of sleeve, etc. Testing measurements. Tracing lin- 
ings. General instructions on sleeves of all kinds. Draft- 
ing a sleeve. 

THE SLEEVE. 

The American System uses the following six measures 
for drafting the sleeve lining : 

First, length of sleeve; second, length of sleeve from 
shoulder to elbow, third, around the top part of arm ; fourth, 
around the lower part of arm; fifth, wrist measure; sixth, 
hand measure. 

1. Length of sleeve: This measure is obtained by 
measuring from the arm hole at the shoulder point down 
over the bent elbow to the joint of the wrist. (See dotted 
Line 11, Fig. 1, Lesson L) 

2. Length of sleeve from shoulder to elbow. Measure 
from the arm hole at the shoulder point to the elbow point. 
This is called the elbow measure. (See top part of Line 11, 
Fig. 1, Lesson L) In taking this measure be very careful 
about placing the elbow correctly, as a wrong measure here 
will make the sleeve out of proportion — either too long above 
the elbow or too short below, or vice versa. 

35 



3. Around the top part of the arm : Measure around 
the top pM-t of the arm at the fullest part, which is usually 
about five inches below the arm hole ; this measure should be 
taken rather loose. (See Line 12, Fig. 1, Lesson L) 

4. Around the lower part of the arm : Measure around 
the arm just below the elbow; this measure should be taken 
rather loose, also. (See Line 13, Fig. 1, Lesson L) 

5. Wrist measure : Measure around the wrist at wrist 
joint. 

6. Hand measure: Measure around the hand at the 
largest part, with the thumb held inside the hand, so as to 
get the sleeve large enough for the hand to slip through 
easily. 

In drafting the plain coat sleeve use only the first four 
measures. The measures used in drafting the sleeve for 
this lesson are as follows: 

Length of sleeve, 25 inches; elbow measure, 15 inches; 
around top part of the arm, 12 inches. Around the lower 
part of the arm, 10 inches. 

Measure in one inch from the left edge of the paper 
and down two inches from the top and draw a perpendicular 
line the length of the entire sleeve ; mark this Line 1. From 
the top of this line draw a horizontal line to the right, par- 
allel with the top edge of the paper, the length of the meas- 
ure around the top part of the arm plus two inches; mark 
this Line 2. Draw a line straight down from the right end 
of Line 2 the same length as Line 1 ; mark this Line 3. 
Connect the lower ends of Lines 1 and 3 ; mark this Line 4. 
Thus you have formed a rectangle, the length of which 
should be the same as the entire sleeve length, and the 
width two inches more than the measure around the top 
part of the arm. 

Divide Line 2 into thirds, making dots at each division 
point and mark these dots A and B ; also divide Line 4 into 
thirds and make dots C and D at the division points. (See 
draft.) Draw Line 5 from dot A to dot C and Line 6 from 
dot B to dot D. The rectangle is now divided into three 
parts. The two left divisions are the upper part of sleeve, 
and the right division is the under part of sleeve; the top 

36 



or upper part must always be twice as wide as the under 
part. 

The sleeve is always curved out under the arm. To get 
the depth of this curve, use one-third of the measure around 
the top part of the arm. 

In this draft the measure around the top part of arm 
is 12 inches; one-third of 12 is 4, so measure down four 
inches from the top of Line 1 and make dot F; also meas- 
ure down four inches from the top of Line 3 and make dot 
G. Draw Line 7 from dot F to dot G. 

Measure down on Line 6 from dot B the length of the 
elbow measure and make dot E. Measure down on Line 1 
the same distance less one inch (as the inside elbow meas- 
ure is always one inch less than the outside) and make dot 
H. Two inches to the right of dot H make doj; I and draw 
Line 8 from dot F to dot I and continue it on down to the 
junction of Lines 1 and 4. 

Now measure down the same distance on Line 3 as you 
did on Line 1 and make dot J. One and one-half inches to 
the left of dot J make dot K and draw Line 9 from dot G to 
dot K. (See draft.) 

Make dot L on Line 6 half way between Lines 2 and 7. 
Measure out one inch to the right of dot L and make dot 
M. Draw Line 10 from dot M to dot E. Measure Line 10 
from dot M to dot E, and whatever that measure is, subtract 
it from the entire sleeve length ; this will give you the length 
to make Line 10 below the elbow. Continue Line 10 from 
dot E so as to cross dot C, making it the length of the meas- 
ure you had after subtracting, and draw Line 11 from the 
lower end of Line 8 to the lower end of Line 10. (See 
draft.) 

From dot D measure out to the right 314 inches 
on Line 4 and make dot N. Draw another Line 10 from dot 
E to cross dot N, making this line one inch shorter than in 
the upper arm. (See draft.) When basting the sleeve to- 
gether, this extra fullness must be gathered in at the elbow. 

Make dot at the end of Line 10 in the under arm. 
From the junction of Lines 3 and 4 measure out to the 
right one inch and make dot P. Continue Line 9 from dot 

37 



K to dot P and draw Line 12 from dot O to dot P. (See 
draft.) 

Now, draw a line commencing at dot F and curve up 
to a point three-fourths of an inch above dot A, cross Line 
2 about one inch for dot B and curve on down to M, and 
continue on down about one-half inch below Line 7 and up 
to dot G; or with the aid of the curved ruler draw the top 
curve of the sleeve, having dots F, M and G on ruler re- 
spectively on same dots on draft; mark this Line 13. This 
finishes the sleeve drafting. 

TESTING SLEEVE MEASUREMENTS. 

Measure Line 10 from dot M to dot E and on down to 
Line 11 ; this should be the same length as the original sleeve 
measure. To test the measure around the top part of the 
arm, measure from Line 8 to Line 9 about four inches below 
Line 7. If this measure should test out too small, move 
Lines 8 and 9 out a little by moving dot F to the left and 
dot G to the right and draw new Lines 8 and 9 to these 
points, then when drawing Line 13, of course, extend it out 
to these points also. If the measure should test out too 
large, alter it by moving dot F to the right and dot G to 
the left and draw new Lines 8 and 9 to these points. If the 
change is not too great, the easiest and quickest way to 
remedy it is to baste the seam in a little farther. 

If the sleeve is too small at the wrist make Lines 11 and 
12 a little longer and draw new Lines 10 to these points. 

TRACING AND CUTTING THE SLEEVE. 

Lay the draft on the double lining and pin down care- 
fully; the lining may be used either lengthways or cross- 
ways, but whichever way you use it, be sure and cut both 
sleeves the same way of the goods; also cut both sides of 
the sleeve on the same grain of the goods. Be sure and 
have Lines 1 and 3 on a straight thread of the goods or the 
sleeve will twist. Trace Line 8 from dot I to dot F, then 
Line 10 from dot E to dot M. Trace Line 13 from dot F 
to dot M. Now, trace Line 8 from dot I down to the junc- 
tion of Lines 1 and 11 and trace Line 10 from dot E to 

38 



Line 11, then trace Line 11. Tracing from the elbow up 
and from the elbow down keeps it from slipping. 

Remove the draft and cut out the upper part of the 
sleeve lining. Leave three-fourths of an inch for seams on 
Lines 8 and 10 and cut Lines 11 and 13, leaving a margin 
of from 11/2 to 2 inches on Line 13. 

Place the draft back on the lining and pin it down very 
carefully. Trace Line 10 from dot E to dot M and Line 9 
from dot K to dot G ; then trace Line 1 3 from dot G to dot 
M. Now trace Line 10 from dot E to dot and Line 9 from 
dot K to dot P, then trace Line 12. Remove the draft and 
cut the under part of the sleeve by leaving three-fourths of 
an inch for seams when cutting Lines 10 and 9. Cut Lines 
12 and 13, leaving as much margin on Line 13 as before. 

If you prefer to cut a paper pattern proceed in the same 
manner as given for the lining. 



39 



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40 



CHAPTER 5. 

Different Styles of Sleeves. Shirt waist sleeves, leg- 
o'mutton sleeves, bishop, plain, coat, lace, elbow sleeves. 
Foundation of all sleeves. 



SHIRT WAIST SLEEVES. 

The draft given in Lesson 4 is for a plain coat sleeve. 
For a shirt waist sleeve use the same draft and draw a 
curved line from the junction of Lines 1 and 4 to dot P. 
(See dotted Line 14 in Fig. 3 accompanying this lesson.) 
When cutting a pattern, instead of cutting Lines 11, 12 and 
10, begin at junction of Lines 1 and 4 and cut Line 14 
around to dot P. If you wish a little more of a dip, make 
a deeper curve as indicated by dotted Line 15 in Fig. 3. 

LEG-0'MUTTON SLEEVE. 

Use the same draft as given in Lesson 4. Cut the up- 
per part of the sleeve out by first cutting Line 11, then Line 
8 from Line 11 to dot F; also cut Line 10 from Line 11 to 
dot E and on up to dot M, then cut Line 13 from dot M to 
dot F. Now cut the under part out by cutting Line 12, then 
Line 9 from dot P to dot G, and Line 10 from dot to dot 
E and on up to dot M, and then Line 13 from dot G to dot 
M. You now have the upper and under parts of the sleeve 
separated. 

41 



Lay these two pieces on another piece of paper, placing 
the back edge of each, from elbow to wrist, together, letting 
the tops lie as they will ; that is, place Line 10 from dot E to 
Line 11 in the upper part and Line 10 from dot to dot E 
in the under part together. (See Fig. 4) Cut along Lines 
8 and 9 until the top of the sleeve is reached ; cut along Line 
13 in the upper part about one inch, then circle out above 
Line 13 until you are about six inches above Line 2. Have 
the longest part of the sleeve come in a line with dot E. Cut 
Line 13 to outline the under part of the sleeve just the shape 
it is at the top, then circle up to meet the enlarged part of 
the upper sleeve. Take up the two pieces and you have a 
Leg-0'Mutton Sleeve pattern. Before laying it on the lin- 
ing or goods, test the measure around just below the elbow, 
also the wrist measure. This sleeve has only one seam (in- 
side seam) and if it should test out too small you would 
not have much extra width to let out. 

Now, if your goods is in such a shape that you could cut 
to better advantage by having the pattern in two pieces, just 
cut the under part off, as indicated by dotted Line 10 in Fig. 
4, remembering, of course, to allow for seams on the back 
edge of each piece. Leave the upper part with the enlarged 
part on it as it is and cut by it. The top may be cut larger 
or smaller than is given here. Gather or plait the sleeve into 
the armhole. If plaited, lay the plait when fitting the 
sleeve. 

When basting this sleeve into the arm hole, place the 
seam at the point where you can feel the strong cord when 
placing the thumb up under the front of the arm. Com- 
mence the fullness in the top of the sleeve about one and 
one-half inches above the seam and let it extend on over the 
shoulder to a point within one inch of dot M. (It is ad- 
visable when cutting the lining or goods to cut a notch at 
dot M while the draft or pattern is on the lining, so you 
will know just where to place it. If the sleeve is in two 
pieces the seam will mark the place.) When cutting this 
sleeve, be sure to have Line 10 from dot E to wrist on a 
straight thread of the goods. This is a close fitting sleeve 
from elbow to wrist. If fullness is desired at the wrist, 
widen the sleeve by commencing at a point one-third of the 

42 



sleeve length from the top, on the seam edges, and cut from 
this point down to the wrist any width desired. (See dotted 
Lines 17 and 18 in Fig 4.) The fullness may be gathered or 
laid in lengthwise tucks or plaits. 

This sleeve may be made with or without a lining. The 
lower part of the Leg-0'Mutton Sleeve may be used to cut 
the long tight fitting cuff, cutting it any length desired. 

BISHOP SLEEVE. 

Use the same draft as given in Lesson 4. Make a dot 
two inches to the left and one inch below the junction of 
Lines 1 and 4 in the upper part of the sleeve ; also make a 
dot two inches to the right and one inch below dot P in the 
under part. Then draw a new Line 8 from dot I to the 
new dot in the upper part, and a new Line 9 from dot K to 
the new dot in the under part, and curve the bottom around 
the same as directed for the shirt waist sleeve, or Line 14 
in Fig. 3. When making this sleeve, begin gathering about 
one and one-half inches from the seam at the wrist and 
gather on around to within one and one-half inches of the 
seam, putting more gathers in the back than in the front. 
The sleeve will fall down over the cuff all around and it sets 
better if it is made over a tight fitting lining. By using the 
lining it holds the cuff in place on the wrist and prevents 
it from slipping down over the hand. 

The rules for drafting this sleeve make a sleeve that 
fits to the arm at the elbow. If you prefer to have it full 
both at the top and at the elbow, take the measures around 
the upper and lower arm very loose, or the size you want 
the sleeve when finished, and then draft according to in- 
structions. 

LACE SLEEVES. 
When cutting lace or embroidered sleeves without a 
seam in the back, use the same draft as given in Lesson 4. 
Cut out the sleeve proper; that is, cut along Lines 11, 8, 13, 
9 and 12 ; then cut Line 10 from dot to dot E and from dot 
E to Line 11. Do not cut Line 10 from dot E to dot M. Now 
cut the under part of the sleeve off from dot K to dot E and 
place the two back edges together; that is, place Line 10 
from dot E to Line 11 in upper part and Line 10 from dot E 

43 



to dot in under part together. (See Fig. 5.) Lay these 
on a piece of paper and trace a new pattern by tracing Lines 
8, 9, 11, 12 and 13. When tracing the lower part of Line 9, 
trace right on up to the upper part through the dot or open- 
ing. This dart will have to be seamed, but do not cut it out 
until after the sleeve is fitted, for if the elbow is not in the 
right place it can be changed, whereas if it were cut out, it 
could not. The dotted lines in Fig. 5 are left to show the 
former position, of the under part. 

ELBOW SLEEVES. 
Use the same draft as given in Lesson 4 and cut from 
dot K to dot E and on to dot I ; do not make this a straight 
line, but curve around from dot K to dot I through dot E. 
This will make the pattern a little longer in the back than 
on the inside, which is necessary, since the arm is longer 
on the outside than on the inside. (See dotted Line 16 in 
Fig. 3.) 

The draft given in Lesson 4 may also be used in cutting 
the loose or flowing sleeve. Cut along Lines 8, 13, 9, and 
make Line 14 as in Fig. 3 of this lesson, and cut it. If a 
wider sleeve at the bottom is desired, extend Lines 11 and 
12 out long enough to get the extra width. 

Thus you see the foundation of all sleeves is the plain 
coat sleeve as given in Lesson 4, and for any sleeve, however 
fancy, that has a tight fitting lining, the coat sleeve is used. 

The instructions given for all these different drafts or 
patterns make sleeves that fit close at the elbow, at the top, 
and at the wrist. To make them larger you can either take 
the measures around the upper and lower arm looser and 
draft according to instructions given in Lesson 4, or a more 
simple way is this: Move dot I to the left and dot K to 
the right as far as you want the sleeve when finished, even 
though you have to move them past dots H and J. Also 
move dot F to the left and dot G to the right, making Line 
7 as long as you desire, and draw new Lines 8 and 9 from 
the new dots F and G to the new dots I and K. Then draw 
Line 13 to meet the new dots F and G also, allowing it to 
extend above Line 2 from one to two inches. You will also 
have to make Lines 11 and 12 longer; extend Line 11 out 

44 



from the junction of Lines 1 and 4 and draw a new Line 8 
from the new dot I to this point; also extend Line 12 from 
dot P to the right and draw a new Line 9 to this point from 
the new dot K. 

When a tight, glove-fitting sleeve is made, great care 
must be exercised in the shape at the top and in the elbow ; 
otherwise you will have a sleeve in which you cannot raise 
the arms or bend the elbow with any freedom. This sleeve 
must be fitted to the arm and in the arm hole as carefully 
as any other part of the waist. 

When the long shoulder effect is worn. Line 13 must be 
drafted as much lower at its top as the shoulder of the 
bodice extends below the point of shoulder. 

It is always advisable to draft a sleeve pattern for each 
patron from her own measurements. Dressmakers too of- 
ten make the mistake of trying to make the same sleeve pat- 
tern do for everyone, and hence in a number of cases a poor 
fit is obtained. No two persons are exactly alike ; some arms 
are long from the shoulder to the elbow and short from the 
elbow to the wrist, and some are the reverse ; some are large 
around the upper part of the arm and small around the 
lower part, and vice versa. 

Every beginner and most dressmakers consider the 
making of the sleeve the most difficult part in all their sew- 
ing, yet it need not be if it is given the attention from the 
start that it deserves, and is thoroughly mastered. It is, 
however, one of the most important parts in the making 
of a costume. 

Nothing is more uncomely and uncomfortable than an 
illfitting sleeve. It is, therefore, very necessary that in the 
first place correct measurements are taken; secondly, that 
the drafting is accurately done ; third, that the cutting and 
the basting are carefully and minutely done; fourth, that 
the sleeve is put in the armhole in the right position. Much, 
however, depends upon the basting and the location of the 
elbow, since a little carelessness in either direction may re- 
sult in a very unsightly appearance. 



45 




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CO 



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46 




FIG. 4 



47 



CHAPTER 6. 

Basting and Fitting Lining of Waist. Seams to baste 
first. Shoulder seam, under arm, darts. How to baste 
seams so they will not gap. Basting sleeve seams. Cor- 
recting errors. How to stand. How to pin. Regulating 
darts. Fitting shoulder and armhole. Fitting sleeve lin- 
ing. Length of sleeve. Removing lining and making 
changes. 

BASTING LINING OF WAIST. 

We will now take up the lining of the waist where we 
left off in Lesson 3 and proceed to put it together. Proper 
basting is a very important factor in the fitting of a gar- 
ment, and should be learned as correctly as any other part 
of dressmaking. 

Thread a needle with colored cotton thread, and baste 
along in small stitches on the waist lines in each part of the 
waist, also in the front tracings, or Line 1. This will en- 
able you to always know just where those lines are and will 
aid you in putting the waist together, and in fitting. Leave 
them in until the waist is finished. 

Use basting cotton No. 50 for basting the seams and 
always make short stitches so the seams will not gap when 
fitting. 

First, baste the darts, beginning at the top and baste 
down ; be sure and keep the traced lines together. This can 

48 



be done with more exactness if they are first pinned to- 
gether. The waist line in the darts may not meet exactly; 
if they do not, see to it that there is the same difference in 
them in both fronts, as they must be exactly alike. 

Next baste the two center backs together. Begin first 
by pinning them together at the waist line and then on up, 
and baste from the waist line up and from the waist line 
down, keeping the traced lines together. Now baste on the 
side forms that fit next to the back, pinning them at the 
waist line first. In each case hold the back next to you. 
Baste each of the other forms on in the same manner, plac- 
ing waist lines together, etc., etc. 

Baste the shoulder and then the under arm seams. 
Proceed in the same manner in basting the under arm 
seams as given for basting the backs. Instead of basting 
the shoulder and under arm seams on the same side as the 
others are based, baste them on the opposite side; then 
when fitting, if any changes are to be made, they can be 
made at these seams with very little trouble. 

BASTING THE SLEEVE LINING. 

First, baste the inside seam. Begin at dots I and K 
and pin it together each way, pinning up from dots and 
down from dots, and then baste it. The upper part of the 
sleeve is much wider than the under part. To make the 
back seam, place the top edges of the upper and under parts 
together, and pin them; also pin on down toward the el- 
bow until within tw^o inches or such a matter of the elbow, 
keeping the tracings together; then baste it. Now pin the 
parts together at the wrist line and on up to within two 
inches of the elbow, and baste it. The upper part will be 
found to be a little longer than the under part of the sleeve ; 
gather this extra fullness and adjust it in this 4-inch place 
at elbow and baste it. 

Lay the sleeve on the table or some flat surface with 
the upper part down. If it is basted properly it will lie flat 
and smooth except the fullness at the elbow; if not basted 
properly, it will twist. If the upper part of the sleeve 
draws in toward the elbow (after it is basted), there is too 
much fullness at the elbow; draw out the basting and let 

49 



enough of the fullness out to make it set smooth. If it draws 
away from the elbow, there is not enough fullness there. 
Again the importance of correct measurements is shown, 
for if the elbow measure is a little too high or too low, the 
seam may have to be rebasted and the elbow put in the 
proper position. 

FITTING THE LINING. 

The next important step after the basting is the fitting. 
If the measurements were accurately taken, and the cal- 
culations and drafting were properly done, and great care 
was used in the putting together and basting, there would 
be no alterations to make an da perfect fit would result, if 
the form you are fitting is normal. 

Put the waist lining on the person to be fitted and have 
her stand in a natural position. First pin it at the neck 
and then on down to the bust, allowing the front tracings 
to come just together. Do not lap it, but pin it like you 
would a seam. Next pin the waist lines together and then 
on up to the bust. 

Now notice the bust. If it appears too tight, allow 
more room by letting out the under arm seams. If too 
loose, make these seams a little larger. Do not fit it too 
tight over the bust. Note the waist in general ; if too large, 
take it in on the under arm seams. Sometimes it will be 
necessary to take some of the surplus out at the darts, but 
you will have to use your own judgment largely in this. 
You do not want the lining to draw cornerwise from the 
darts to the under arm seams ; it must fit perfectly smooth 
there. 

Notice if the darts are in the right position. If they 
seem too low, raise the front at the shoulder seam; if too 
high, lower the front at the shoulder seam. Sometimes 
they may need running just a little higher, or they may 
have been basted a little too high. 

Next, fit the shoulder. If you have to open the seam, 
place one hand on the back and the other over the front 
and smooth them both up at once toward the shoulder, 
noticing that they fit up to make the neck right. 

Now look at the arm hole. It should fit quite close. 
Do not be in too big a hurry to trim it out, for remember 

50 



that a three-eighths-inch seam must be taken off when the 
sleeve is sewed in and this will make the armhole one inch 
larger. Of course, if it fits too snug and feels too tight, it 
may be trimmed a little; do not cut out too much in the 
back and over the shoulder. A wide back is required when 
the shoulders are to be fitted long, but the back is narrower 
if the shoulder is fitted short. 

If the lining wrinkles much in front when the arms 
are hanging down, it is too high under the arms and needs 
trimming out. If, after cuittng the arm hole out here, it 
makes the front too loose above the bust, raise the front 
at the shoulder seam. If the arm hole is too large, make 
the shoulder and under arm seams a little larger. Occasion- 
ally there will be a little fullness in the arm hole right in 
front of the bend of the arm that cannot be taken out. In 
such a case, take a small dart about one-fourth of an inch 
deep in the lining and one and one-fourth inches long, let- 
ting it extend out toward the back dart; this gives a good 
spring over the bust. 

If there is still a little fullness over the bust in the cen- 
ter front where it is pinned together, take a small dart in 
the center front where it is pinned together, take a small 
dart about where the bust line is, letting it extend toward 
the arm hole. 

If the lining is too loose across the shoulder blades, 
make the curved seams a little larger. See if the waist line 
in the back is in the right position. Observe height of the 
neck in the back. Notice if the side bodies are the right 
length, setting well down to the form, and if the waist is 
high enough under the arms. 

If the side bodies set close to the waist and arm hole, 
most of the changes can be made in the under arm and 
shoulder seams. The darts and curved seams will not often 
have to be altered. If the curved lines bulge out any, pin 
them in. If the back draws across the upper part, let the 
center seam out a little. If it is too large at the waist line 
and taking it up under the arms throws the curved seams 
too far forward, take the center back seam up a little. It 
is advisable to fit as broad across the shoulders as can be 
worn and not bulge in the back. Trim out the neck suffi- 
ciently to be comfortable. Do not have it too high in front 

51 



or too low in the back. When all the necessary changes 
have been made, mark with pins where the bottom of the 
waist is to come, which depends upon the style in which 
it is to be made. 

FITTING THE SLEEVE LINING. 

Before taking the waist lining off, fit the sleeve lining. 
Adjust the sleeve in the proper position; draw it well up 
under the arm so that the elbow is in the right location, and 
pin the sleeve in the arm hole at the inside seam and 
around under the arm almost up to the shoulder seam. 
Now have the person bend her arm back and forth and you 
can readily tell if the elbow is correct; if it is too high, 
lower it; if too low, raise it, by adjusting the seams. If the 
sleeve is too loose take up a little on each seam ; if too tight 
let it out equally on each seam; the shape of the sleeve is 
much better retained by using both seams. Of course, if 
the sleeve is just a trifle too small or too large, the change 
may be made in just one seam. If there are changes to be 
made above the elbow, make them there and not below ; the 
same applies to changes made below the elbow. Make the 
sleeve the desired length, being very careful not to get it 
too short. However, fit it as long as can be comfortably 
worn, as sleeves seem to shorten with the wearing. 

Of course, you will not need to make all these changes 
in one fitting, but they will appear from time to time, and as 
said before, the more accurate the measurements and draft- 
ing are done, the fewer changes will have to be made. This 
requires much practic and patience, and the more practice 
and experience you have, the sooner you will reach per- 
fection. 

Carelessness in basting the sleeve may cause you to 
think that it has not been properly put in or is not cut cor- 
rectly. Every remedy but the true one is tried; the arm 
hole becomes disfigured and stretched by much basting and 
trying on, and the sleeve is ruined by too much trimming 
and twisting. 

Now remove the lining. As you take the pins out of 
the fronts to open it, be sure and place them back in one 
front just where you removed them; also mark the point in 

62 



the arm hole where the inside seam of the sleeve is placed. 
It is a good idea to take a needle and thread and run around 
with small stitches in all changes you have had to make, 
also where the pins are around the bottom so they can be 
removed. Mark the changes in the shoulder and under arm 
seams and trim them evenly before taking out the pins. In 
order to have both sides just alike, fold the waist together 
and pin at the waist line, top of darts, under arm seams, and 
in the back, and then trace all of the sewings where changes 
were to be made in the one side, on to the other side. Run 
the tracing wheel also over the stitches for turning at the 
bottom. Open the sleeve and trace on to the other any 
changes that may have been made. 

If one shoulder is a little higher than the other, trace 
the highest one and then pad the other. 



53 



CHAPTER 7. 
Stitching Linings and Finishing Seams. Arranging for 
hooks and eyes. Covering same. Boning the waist. Seams 
to bone and how long to cut bones. Putting in bones and 
finishing. Second fitting of waist. Padding and how to use 
it. Finishing the bottom of lining. Use of canvas. Fitting 
a waist lining over a form. 

STITCHING LINING AND FINISHING SEAMS. 

The stitching is now ready to be done. Stitch all but 
the shoulder and under arm seams. Do not stitch in the 
basting threads, but as close to them as possible ,as it makes 
them so hard to draw out. Stitch the curved seams just in- 
side the tracing, and the others just outside. After stitch- 
ing them, trim them off evenly. Leave one-half inch seams 
in the center back and darts, and one-fourth inch in the 
curved seams. Stitch all the seams the same way, either 
from the bottom or the top, and be sure the needle is on 
the waist line before the turn is made. Overcast or bind 
them, as best suits your convenience. This will prevent 
any fraying out of the seams. If you overcast them, use 
small, even and very shallow overhand stitches and do not 
draw them very tight. If you bind them, use seam binding, 
sewing it along the edges of the seam and arranging it so 
as to sew both edges of the binding at the same time ; do not 

54 



draw the stitches too tight. Both edges of the curved seams 
are to be overcast or bound together, but each edge of the 
center back and darts must be overcast or bound separately. 

ARRANGING FOR HOOKS AND EYES. 

Now put the hooks and eyes on. Use a strip of canvas, 
cut on the true bias, one and one-half inches wide, and 
double it in the center lengthwise. Cut a strip of lining 
about two inches wide and baste one edge of this to the two 
edges of the canvas, having the three edges even. Now 
baste this on to the inside of the lining with the canvas up, 
having the three edges come on the line where the fronts are 
to meet. Turn the edge of the front down over the canvas 
and baste it. Stitch it on the edge, and also back far enough 
to permit a whalebone to pass through. Fix the other front 
in the same manner. Press well and then slip the whalebone 
in between the folds of the canvas. These bones should be 
about seven inches long, and the genuine whalebone gives 
the best satisfaction for the fronts. 

Now mark the space for the hooks and eyes. In order 
to get them even, pin the edges of the fronts together at 
the waist line, being very careful to have them exact; then 
pin them up to the neck curve, pinning about one-half inch 
from the edges. Open these edges and bend back this half- 
inch space. Cut a piece of cardboard the length of the 
space you want between the hooks, which is usually about 
one inch, and lay it on the edges of the fronts and mark 
both fronts with crayon, from the waist line up to the neck. 
Remove the pins and sew the hooks and eyes on firmly in 
the crayon marks — the hooks on the right side about one- 
eighth of an inch back, and the eyes on the left side about 
one-eighth of an inch out. Cover them with the strip of 
lining which was sewed in with the canvas, pulling it up 
under the hooks smoothly and then overhand it down neat- 
ly. If the facing is too wide to make a neat finish, cut off 
the extra width. 

BONING THE WAIST. 

All the seams must be carefully pressed and finished 
before boning them. We advise the use of featherbone, 
since it can be cut any length desired and there is no waste. 
Use sewing silk for sewing the bones in and a medium sized 

55 



needle and take a very long stitch. Each bone should reach 
below the waist line to the turning-up line for the bottom 
of the waist. Bone the darts first. Cut the featherbone the 
length of the darts; pull the casing down a little and cut 
the bone off about one-fourth of an inch, so as to make the 
casing longer than the bone and then turn the casing over 
the ends of the bones to make a smooth finish. If you pos- 
sess a machine attachment for boning, you can sew the 
bones in very easily. Lay the featherbone under the foot 
of the machine and place the edge of the seam over it and 
stitch it down on the part of the seam that extends out, 
stitching as close as possible to the seam stitching but never 
in it; also stitch the other edge of the bone to the other 
edge of the seam, being careful to have it smooth and 
straight. In like manner bone the center back and under 
arm seams, but do not bone the latter until after the second 
fitting. When boning a waist for fleshy forms, it is some- 
times necessary to place a bone midway between each two 
seams and fasten them to the lining only. 

SECOND FITTING. 

The lining is now ready for the second fitting. Urge 
your patrons at all times to wear smooth underwear; also 
to wear a good corset and to have it the same each time they 
are fitted. Once in a while a patron will lace differently 
and cause a great deal of trouble in the fitting in this way. 
You cannot secure a perfect fit over bunglesome under- 
clothes or over an old, broken-bone corset. At you find that 
these defects are true of a patron, do not hesitate to call 
her attention to it. 

Sometimes after boning a waist it is a little too tight. 
If so, let it out in the under arm seams, as they have not 
yet been stitched. Now, notice if any padding must be used 
and if so, mark the places. If one shoulder is higher than 
the other, a more perfect fit is obtained by padding the 
lower one. If there is a hollow in the center of the back be- 
tween the shoulder blades, put in a small pad. If there is a 
hollow place under the arms, pad it ; if these pads are made 
after the fashion of a dress shield and sewed in after waist 
is finished, more pleasing results follow. If the chest is flat, 

56 



the appearance will be much improved if padding is placed 
there also. 

For the padding use cotton batten which comes in rolls. 
When more than one layer is needed to fill the hollow, make 
the first layer to fit the place to be padded, then the next 
one a little smaller, and so on until it is filled. If you will 
pull the cotton out at the edges instead of cutting it, the pad- 
ding will not show where it begins. If you are obliged to 
cut it for some places, pull out the edges afterwards. If 
the material for the outside of the waist is of heavy goods, 
the padding may be placed between the lining and the ma- 
terial ; if not, it will have to be placed on the wrong side of 
the lining and then covered. 

A very satisfactory way to make the waist appear full- 
er through the bust when it is necessary is to wear a corset 
cover which has two or three ruffles across the front about 
three and one-half inches wide, sloping off to about two 
inches wide at the arm hole and the under arm seam. 
These ruffles are very pretty, made of embroidery, although 
they may be made of bias crinoline. If the arms are long 
and thin, padding may be used between the elbow and 
shoulder in the sleeve; a better way, however, is to plan 
the waist with sleeves that are timmed to enlarge the ap- 
pearance of the arms. 

Now observe the waist very carefully to ascertain if 
all the necessary changes have been made and if it fits per- 
fectly. Notice if the shoulders set properly and be sure that 
the arm hole is correct. Notice the sleeves in particular, 
that they are the proper length and that they set well. If 
they appear too long at the top, turn them down, pin and 
then trim them off; if left too long or too high on the 
shoulders they will stand up when stitched in. If the long 
shoulder effect is worn, the sleeves should be cut less round- 
ing at the top than when the shoulders are short. 

Cut a bias strip of canvas or crinoline about an inch 
wide and baste it around the bottom of the waist on the in- 
side; turn the edge of the waist under just a seam's width, 
cut a bias strip of lining one and one-fourth inches wide, 
turn under one edge and hem it down as a facing on the 
turned under seam of the bottom of the waist; then turn 



under its other edge and hem it neatly to the waist. This 
is done, of course, after the outside material is draped on. 
The lining is now ready to be draped, which should be 
done upon a form, as it requires a great deal of time. If you 
do not have a form, it will have to be done on the patron, 
and there is danger of you hurrying too much for fear you 
will tire her, and perhaps, in your hurry, you will overlook 
some things that should have your careful attention, where- 
as if you had a form you could take your own good time 
and not feel hurried, or that you were subjecting your pa- 
tron to long and tiresome fittings. 

FITTING A LINING OVER A FORM. 

One of the greatest difficulties in making one's own 
clothes is the necessity of having to try on again and again, 
and it is not always easy to ascertain whether the desired 
effect is being produced or not. It is, therefore, of the ut- 
most importance when one is making her own dresses, to 
possess a form of her own bust measure upon which to 
drape the waists and skirts. It is almost impossible to fit 
one's self without it. They may be purchased in any size. 
If you are sewing for others, you may need several sizes. 
However, adjustable ones are manufactured now which can 
be made any size desired. The size of the form is based 
upon the bust measure. 

To prepare a form for your own personal use, cut a 
lining from heavy unbleached muslin or from cotton duck, 
or some strong material, and have it fitted perfectly to your 
own figure, letting it extend five or six inches below the 
waist line. Place the lining upon the form, draw it well on 
and pin the fronts together for one or two inches from the 
neck down, and up two or three inches from the bottom — 
just enough to hold it firmly on the form, but open at the 
bust line. If the lining does not fit the form perfectly, do 
not try to make it do so, but make the form to fit the lining. 
Pad between the form and lining with cotton, tissue paper 
or scraps of cloth until the lining fits the form as smoothly 
and evenly as it did you. Especial care must be given to 
the shoulders and neck ; if the lining is too long waisted for 
the form, raise it up by padding more under the shoulders. 
If too loose in the back, fill it up there. When the form is 

58 



firm and will not dent in handling, sew the two front edges 
together with an overhand stitch. 

This will require a great deal of care, but you will find 
it well worth your trouble, because it will simplify all the 
work in the future and save many fittings. Leave the lining 
always on the form and fit your waists over it. You can fit 
and make shirt waists on this form without every trying 
them on and be assured of a perfect fit, since all the imper- 
fections can be easily seen and corrections made. When 
fitting waists that have a lining, fit the new lining right over 
the lining you have just put on the form. 

Note. — The subject of boning thoroughly treated is so 
comprehensive — embraces so much, and as it comes more 
properly after the student has finished the elements of 
dressmaking — has completed the course — we have made ar- 
rangements with the Warren Featherbone Company by 
which they are to prepare for us a special lesson on feather- 
boning, which comes immediately after the student gradu- 
ates. 



59 



CHAPTER 8. 
Draping a Waist. The yoke. The lower part. The 
back. Fullness in front and back. Finishing bottom of 
waist. Where yoke joins waist. Lace yokes. Evening 
waists. How to press seams in cloth. How to press velvet 
and silk. How to press sleeves. How to baste and stitch 
velvet, plush, corduroy, woolen goods, etc. 

DRAPING A WAIST. 

The construction and draping of a waist require the 
most careful attention to every detail, but one can feel mod- 
erately sure of a good effect if sufficient perseverance be 
exercised and much care be observed throughout the entire 
work. 

If the waist is to have a yoke, drape it first. Open the 
under arm seams and lay the center front of waist on a 
fold of the material and cut to outline the neck in both 
front and back and make the yoke as long or as short as 
desired. The back will come out bias. If the yoke is wanted 
to open in front, lay center of back on fold of the material. 
Now place this yoke on the form and pin it securely. 

The lower part is draped next. In the draped waists 
which are generally worn at the present time, the outside 
material is not fastened in with any of the seams except the 
shoulder seams. There are instances, however, when the 
material is fastened in the under arm seams as well. 

60 



Measure the material from neck to waist line to get the 
length, then add six inches for fulness and cut off a width 
from the material this length. Pin the center of the goods 
at the center of the front, placing it high enough so it will 
reach the lower part of the yoke and the arm hole. Push 
the goods straight back under the arm, pinning as you go; 
also pin at the top of the under arm seam. If tucks or plaits 
or fulness are desired, pin them in as you proceed. As you 
pin it on down on the under arm seam, give the goods a 
swing toward the front, which will give the seam a bias ef- 
fect and leave some fullness in front, which may be gath- 
ered or plaited in at the waist line. After this is carefully 
pinned down, trim off the goods at the yoke line, in the arm 
hole, under arm seam and around the bottom, leaving 
enough to turn up at the bottom; also allow for seams un- 
der the arm. If waist opens in front put the selvage of the 
goods at the center of front, leaving enough for hems and 
drape one side of front, then remove it and cut other front 
by it and replace both on form. 

Drape the back in the same manner, placing the 
straight of the goods at the center of the back and pinning 
toward the under arm seam. Have the goods high enough 
to reach the shortest part of the yoke. Pin along at the 
yoke line and the arm hole and to the top of the under arm 
seam. If you desire tucks or plaits or fullness pin them in 
as you did in the front before pinning it down on the under 
arm seam. If the waist is to open in the back, cut it down 
through the center; if to open in front, leave the back 
whole. Trim the goods off around the yoke, arm hole, un- 
der arm seam and around the bottom, leaving enough to 
turn up at the bottom and allowing for a seam under the 
arm. Remove from form and cut the other side of the back 
just like it. Then replace on form. 

If you desire to have no yoke in the back and want it 
draped up to the neck and shoulder, proceed in the same 
way, allowing the material to extend up to the highest point 
of the shoulder and pinning it at the neck and shoulder 
seam, and then cut it off there, allowing for a seam. Drape 
the front without a yoke in the same way. 

Now remove from the form with the lining also and 

6i 



be sure no pins fall out. Carefully baste along the front, 
around the yoke, neck, shoulders, arm hole and the under 
arm seams — both in front and back; also around the bot- 
tom. Open the shoulder and under arm seams and baste the 
outside in with the lining, turning the seams this time so 
they will be on the same side as the other seams. Be sure 
to keep the waist lines together when rebasting the under 
arm seams. Use your own judgment as to whether you sew 
the outside seams in with the lining or leave them separate. 
If the lining seems fuller than the outside, leave it so, but 
be sure there is no fulness in the outside. Turn the goods 
under at the bottom and baste it. 

Finish off the waist neatly. Use any kind of finish 
where the yoke and waist meet; either turn it in and whip 
it or cover with ribbon binding or braid. If you prefer the 
yoke unlined, cut the lining out at the yoke line. If the yoke 
is of lace or embroidery and is very thin, a lining of chiffon 
or net should be put under it. A lined yoke may come far- 
ther down than an unlined one. If there is to be any tuck- 
ing or plaiting or gathering, it must be done before it is 
draped. If you have not left enough on the opening of the 
yoke for a hem, you will have to face it with itself and fast- 
en it with small hooks and eyes. 

If you do not have a form on which to drape the outside 
material and do not care to tire your patron with long stand- 
ing, you can cut the goods by the fitted lining before it is 
stitched, allowing for all fullness and doing the tucking or 
plaiting before cutting it out. 

EVENING WAISTS. 
Drape evening or low-neck waists in the same manner. 
When fitting the lining, mark on it just how low the neck 
is to be, then when draping, bring the material up to these 
marks. In these waists it is a good idea to run the bones in 
the back clear to the top to keep the waist from drooping. 
In some instances where the material is soft and full, it is 
advisable to run a string or tape around the top on the in- 
side that can be drawn to fit the wearer. 

PLAIN TIGHT FITTING WAISTS. 
Cut the lining of a tight fitting waist the same as di- 
rected in Lesson 3. If it is to have a skirt portion, draft the 

62 



pattern below the waist as far as desired. This will require 
a hip measure, which is usually taken around the hips five 
or six inches below the waist line. Then, when testing this 
measure, if it tests out too small, trace outside the lines far 
enough to get the extra width ; if too large, trace inside the 
lines. Be sure to get it large enough over the hips or it will 
draw and wrinkle there. 

After cutting the lining out and shaping it below the 
waist line, lay the front on the doubled material with front 
edge of the lining on the straight edge of the goods, and pin 
carefully and then cut out. Place each piece of the lining 
on the doubled goods, always keeping the waist lines on a 
straight thread of the goods. After all are cut, separate 
and place each piece of the lining with its corresponding 
piece of the material or goods. You will not get two pieces 
for the same side when cutting both sides at once this way 
on the doubled goods, and can cut as saving also. Occasion- 
ally, however, you will have a piece of goods that can be cut 
to much better advantage by cutting each piece separately. 
When this occurs, be sure to compare the two corresponding 
pieces before cutting, so you will know that they are right 
and thus avoid the danger of cutting two pieces for the 
same side. If the material has much of a nap, cut each 
piece of the waist to run in the same way; otherwise, by 
different reflections of light, caused by the different direc- 
tions of nap, the garment may appear to be made of two 
shades of goods. It is advisable, even in material that has 
no nap, to cut each piece the same way. 

BASTING MATERIAL ON LINING. 
Lay the lining on the table and place the goods over it 
and smooth the goods over and over again and draw it out 
a little. Pin it carefully in several places around the edges 
to hold it in place, then baste it about where the pins are. 
Turn it over and baste along the waist line also. The idea 
is to get the outside drawn a little tighter than the lining, 
which will obviate all those little lengthwise wrinkles so 
often seen in a tight fitting waist. Careful judgment, how- 
ever, must be used in the smoothing, as different textures 
of goods give more or less in this smoothing, which must 
always be done lengthwise of the goods. 

63 



Join all seams together from the waist line up and 
from the waist line down, making the turn at the waist line 
decided. Pin and baste according to instruction already 
given for basting the lining. If there is any unevenness in 
any of the pieces, caused by careless cutting, do not attempt 
to full it in, but let it come out at the top or bottom, being 
sure first that the waist lines are together. After all the 
seams are basted, cut the darts off a little so that when fit- 
ting the waist will set well down to the form; when ready 
to bone they can be cut off the desired width. 

Clip all seams at the waist line after they are stitched 
and finish them as you wish. If you bind them, be very 
careful to put the binding on loose enough so the seams will 
not draw; otherwise a perfect fit will not be obtained. 

PRESSING. 

Careful pressing is the most important part in dress- 
making. You cannot hope to attain the desired results un- 
less this is properly done. Special pressing boards may be 
purchased from dressmakers' supply houses, but home- 
made ones answer the purpose quite as well. A narrow iron 
is more preferable for pressing seams than a wide one, but 
in the average household the ordinary fiatiron will be chiefly 
used. While it has long since been the custom to press the 
seams open with the point of the iron, a much better result 
is obtained by using the square end, as the edges of the seam 
are thus spread out evenly at the same time that the seam is 
pressed. 

Open the seams in cloth dresses and dampen with a 
wet sponge or cloth and press hard until thoroughly dry. 
Do not press velvet by setting a fiatiron on it. Lay the iron 
on its side with a damp cloth over it and open the seams and 
draw them across the edge of the iron. Soft fabrics, such 
as silks, cashmeres, etc., do not require dampening. Do not 
use an iron that is too hot, as the heat takes out the dressing 
and leaves the silk soft and old looking; move the iron 
quickly and smoothly over the seams. For sleeves, a small 
sleeve board made of hard wood is used. However, if you 
have none, a broomstick or a small rolling pin will do. 

In making up goods that shrink, such as linens, duck, 
etc., it is best to shrink them before making them. Place 

64 



them in hot water, dry and press well. Haircloth and can- 
vas should also be dampened and pressed before it is used ; 
otherwise, if the dress becomes damp the haircloth and can- 
vas will shrink and ruin the looks of the dress. 

On account of its springiness, woolen material should 
be slightly stretched down in length and basted more closely 
to the lining. In open-meshed goods, where the threads are 
quite prominent, great care must be used in the stretching 
or the threads will be crooked. When basting velvets, plush, 
corduroy, etc., baste as close to the edge as possible, as the 
basting thread often breaks the pile or nap down and leaves 
a mark. When stitching these materials, stitch against the 
pile and the seams will show less and the goods will not push 
ahead of the presser foot. After stitching the seams, clip 
every stitch or two of the basting and remove at once. Clip- 
ping the basting in this way will leave the seams smooth 
and will leave no marks, whereas if you undertook to draw 
out a long basting thread it is likely to cut the pile on vel- 
vets and plush and split silks. Remove all bastings from 
such materials as soon as possible. 



65 



CHAPTER 9. 

Shirt Waist. Measurements. Cutting, basting and fit- 
ting. Added fullness for shirt waist, tucks, plaits, etc. 
Under arm seam. Shoulder seam. Finishing seams. Belt 
line. Collar band. Front plait. 

SHIRT WAISTS. 

The term "shirt waist" covers a very large field, em- 
bracing the perfectly plain waists of linen, gingham, per- 
cale, etc., with a single box-plait down the front, and pro- 
ceeding through different degrees of elaboration to the more 
costly ones of silk, lace and chiffon. Not so much care and 
skill is required in the making of a shirt waist, and one can 
easily fit herself, but a careful fitting is needed to make it 
appear "chic." 

Draft a pattern the same as given in Lessons 1 and 2 
until you come to the darts in the front and the curved 
forms or side bodies in the back, which do not draft — simply 
outline the front and back. Measure out to the left of the 
junction of Lines 1 and 8 from two to four inches and make 
a dot. (This depends on how large the bust is and how full 
you want the waist in front at the waist line.) Draw a line 
from this dot to dot N and mark it (1-a), and use this new 
line (1-a) for the front edge of the waist. If you want still 

66 



a little more breadth across the bust, draw the arm hole 
from dot J to dot C with less curve. If more fullness is de- 
sired in the back, trace Line 14 instead of Line 21, allowing 
it to extend four or five inches below Line 17 or waist line. 

The pattern is now ready to cut the waist material. If 
there are to be any tucks or plaits, or tucks and insertion, 
they must be put in before it is cut out. If you do the tuck- 
ing on a machine with a tucker, be sure the tucker is ad- 
justed right. Try it beforehand on a piece of the same ma- 
terial; if you try it on a heavier or thinner piece of goods, 
the tucks will not look the same in the waist as in the 
sample. 

Place Line (1-a) on the straight edge of the goods, al- 
lowing for hems. Give plenty of spring over the hips and 
allow four or five inches below the waist line. Be sure and 
have both fronts just alike. Lay the tucks from the neck 
and shoulder to the bottom of the waist so as to keep the 
goods straight while cutting and the waist will not draw 
across the bust. You can stitch them as far down as you 
desire. 

Place the center of the back on the straight of the goods 
also, and remember to allow for all seams. When cutting 
the sleeves, be sure not to cut them the full length, but leave 
off the depth of the cuff. Baste according to instructions 
given for basting a lining. 

FITTING SHIRT WAISTS. 

Put the waist on and pin the fronts together carefully^ 
and pin them straight. Tie a string around the waist and 
adjust the fullness in the back and mark where the gathers 
will be and the space they will occupy. If the tucks or plaits 
run straight of the goods, see that they set that way, or if 
they run to the front, notice if both sides are just alike. 
Notice if the waist draws across the bust; if so, let the 
fronts out at the under arm seams. The waist should fit 
quite loose across the bust. If the arm holes are too large, 
take up the shoulder seams. Be sure that the arm holes 
turn a perfect curve over the shoulders; do not have them 
shorter at the shoulder seams. The effect of a great many 
waists is spoiled in this way. They give the sleeves a 

67 



pointed effect at the top instead of the rounded curve they 
should have. 

Draw the fronts forward at the waist line and arrange 
the gathers so as to make the waist set perfectly smooth 
under the arms. Now pull the fronts up until you have as 
much of a droop in front as desired and mark it. If it 
draws across the hips, let the under arm seams out below 
the waist line. If this does not give as much fullness as is 
needed, leave the seams open entirely below, the waist line. 
Fit plenty long in the back. The skirt is usually pinned to 
the waist at the center back, and as it tends to pull the waist 
down in the back, the neck will be too low in the back if not 
fitted long enough. The neck requires especial care. Do not 
trim it out too much ; the neck band should fit closely, though 
not too snug. 

Fit the sleeve so that it is not too long at the top. Mark 
the place in the arm hole where the seam is to come; also 
mark where the gathers begin and end. Adjust them to 
come well down in front, beginning about one and one-half 
inches from the seam and extending up over the shoulder 
and not too far in the back. Notice the gathers at the wrist 
to see if they are arranged to give a pretty set to the bottom 
of the sleeve. Fit a strip of lining or canvas on the sleeve 
for a cuff and cut it the desired length and width. 

In nearly every instance the sleeves are made to accord 
with the design of the shirt waist. Plain shirt waists have 
plain sleeves finished with a cuff, while more elaborate 
waists have the sleeves either tucked or box-plaited, finished 
with a deep cuff of fancy design. 

Observe the waist all over very closely to see if all the 
necessary changes have been made and whether there are 
any more to make. If not, remove the waist, draw out the 
bastings and mark both sides alike and trim them, and re- 
baste. Use the French seam when stitching the seam. This 
is made by stitching on the right side and trimming evenly 
close to the stitching; turn the seam on the wrong side, 
crease the edge and take off another seam about one-fourth 
or one-half of an inch deep. This will cover the edges of the 
first seam if they were trimmed evenly and closely. If the 
waist is wool or of heavy material, trim seams evenly and 

68 



either overcast or bind or notch them. Leave the shoulder 
seams unstitched until after the second fitting, so in case 
there is any fullness to be disposed of, or any little readjust- 
ment to be made, it can be done without having to rip a fin- 
ished seam. 

Now a plait must be put on in front. If a woolen waist, 
waist, line the plait with canvas, cutting it as wide as the 
plait is to be when finished. Cut the material to cover the 
canvas and enough wider to turn in a good edge. Turn in 
these edges and baste them and then press the p)ait. Baste 
it on to the right front, placing the center of the plait on 
the front tracing. Turn the edge of the front back so as to 
be stitched down the same time the plait is stitched. Stitch 
the plait on both edges and about one-fourth of an inch 
from each edge. Remove the basting and press well. Turn 
the edge of the other front under and stitch down if it is 
wide enough; if not, you will have to face it. Fasten it 
either with buttons and buttonholes or hooks and eyes. 

Gather the fullness at the waist line in the back, two 
rows being sufficient. These are stayed with a strip of the 
material about three-fourths of an inch wide and stitched 
all around on the under side. Or, if a tape is used to tie 
around the waist adjust it in the same manner at the back. 
You can arrange the gathers in the fronts the same way by 
stitching the tape to them also. Some shirt waists are not 
gathered at the waist line in the fronts at all, but allowed to 
fall free from the neck and shoulders. In this case, the 
tape is stitched on the outside at the back, over the gathers, 
and tied in front each time the waist is worn, and the full- 
ness adjusted to suit the wearer. Many prefer this plan, as 
they are much easier laundered. 

When a waist is made of heavy material and full in 
front, it is sometimes necessary to cut up to the waist line 
from the bottom at the point where the gathers begin, and 
the fulness gathered into a band. This band should be 
about one and one-fourth inches deep when finished and cut 
a little on the bias. Even with the band, the fronts may be 
drawn down tight or pulled up to droop over the belt. Fix- 
ing the fullness in a band in this manner does away entirely 
with the bunglesome quantity of material below the waist 

69 



line, which intereferes so often with the proper fitting of 
the skirt. The bottom of the remainder of the waist is fin- 
ished with a narrow hem. Cut the collar band just a little 
curved, as it will set up to the neck smoother than a straight 
band. Baste one edge of the band to the neck of the waist 
and stitch it; turn the other edge over the seam and over- 
hand it down neatly. 

If there are any changes to be made in the sleeves, 
make them now, and be careful to get both sleeves alike. 
The opening of shirt waist sleeves varies its position ac- 
cording to the dictates of fashion. Sometimes the opening 
is at the inside seam and sometimes at the back of the 
sleeve or the under side. For a shirt cuff, cut an opening at 
the back of the sleeve from the wrist the desired depth. 
Sew an undrlap to the back of the opening with the seam on 
the right side ; crease the seam over on the lap and fold the 
other edge over the seam and stitch down. Join the over- 
lap to the front of the opening on the right side of the 
sleeve also. Turn down the other edge of the lap and fold 
over so as to cover the seam. Adjust the overlap so as to 
entirely conceal the underlap and then baste it. Stitch all 
around the overlap, keeping the point in a good shape; 
when stitching around the point, stitch it down through the 
underlap so it will hold the opening in good position. Or, 
if you prefer, you can leave a small opening at the inside 
seam. The underlap should be about one and three-fourths 
inches wide, and the overlap about two inches wide, with 
one end pointed. Sew the seams of the sleeves up, using the 
French seam also, and press them well before putting on 
the cuffs. Gather the fullness at the bottom of the sleeve 
and bind it if it is a woolen or silk waist. 

The cuff is usually made with an interlining and sewed 
to the sleeve after it has been gathered. Cut the interlining, 
which should be of white linen or muslin, the length and 
width you want the cuff when finished. Cut the goods a 
seam wider and baste on to the interlining, turning all the 
edges over the lining. If the cuffs are to be stitched any, it 
must be done now, and then pressed. Line them with silk 
or some soft material. Fasten them on to the sleeve by 
hand so no stitches will show. If the waist is of cotton or 

70 



similar material, put the cuffs on just like a band — sew one 
edge to the sleeve and turn the other edge over it. 

Baste the sleeves in the waist and then try it on again 
before stitching them in. Look the waist over carefully and 
notice if all the changes have been made. See if the full- 
ness in the fronts and back is adjusted properly, and if the 
tape or strip is on at the waist line all right, and note 
whether the sleeves are in correct position. Remove and 
stitch the shoulder seams and then the sleeves, having the 
shoulder seams turned to the front. Stitch a bias strip in 
with the sleeves and then turn the strip over the seams and 
overhand it down so there will be no "raw" seams. 

Sometimes after tucking or plaiting the fronts, it will 
be found that they are not wide enough to take in the whole 
pattern. In such a case, you will have to piece the material, 
making the seams come where they will least show — under 
the arm or perhaps under a tuck or plait. 

Shirt waists are usually made unlined, though in some 
instances, such as a transparent, or a thin, soft silk, a lining 
is advisable; but for the ordinary waists of cotton and 
linen, a well fitted corset cover answers the purpose just as 
well. 



71 



LESSON 10. 
Collars and cuffs. Stock collars. Drafting a stock 
collar. Cutting a sailor and bertha collar. Storm collar. 
Coat collar. Soft collar. Depth of collar. Finishing col- 
lars. Cuffs and how to draft and make them. 



HOW TO DRAFT A COLLAR PATTERN. 

Take one-half the neck measure and add half an inch 
to it, then make a rectangle whose top and bottom will each 
be that measure, and make the sides each four inches long, 
and number these lines 1, 2, 3 and 4 respectively. (See Fig. 
6, accompanying this lesson.) This will make a draft for a 
collar two inches wide. When drafting for a wider one, 
make the side of the rectangle twice the width you wish the 
collar to be. Using the neck measure given in the first les- 
son — 12 inches — one-half of twelve is six inches; adding 
half an inch, according to instructions given above, makes 
six and one-half inches long to draw the top and bottom of 
the rectangle ; make each end four inches long. 

Find the midway point of Line 3 and make dot A — the 
depth of the collar in front ; also make dot B at the midway 

72 



point of Line 4, and make dot C at the junction of Lines 2 
and 3. On Line 1, one inch from Line 4, make dot D and 
connect dots B and D by a straight line. Now draw a slight 
curve from dot A to dot D ; also one from dot C to dot B, or 
use the curved ruler enclosed, putting dots A, C, B and D 
on ruler resectively on same dots on draft and draw the 
curved lines. By measuring from dot C to dot B, you will 
find that it is about one inch longer than from dot A to dot 
D ; this being one-half of the collar, it will make two inches 
difference in the whole collar, which is the correct propor- 
tion. You can use the lower part of this collar to cut a shirt 
waist neck band. 

When cutting this collar, lay the edge from dot A to 
dot C on the fold of the goods, and allow for turning under 
on all the edges. Interline with canvas; baste the material 
on the canvas and turn all the edges over the canvas and 
baste them. If you want the collar stitched any it should 
be done now ; then press and line with silk or some soft ma- 
terial. 

SAILOR AND BERTHA COLLARS. 

The sailor or round lay down collar is best made by 
folding a waist in the center of the back before the under 
arm seams are basted, and pinning it down very carefully 
to a piece of paper, spreading it out smothly; then cut to 
follow the neck curve of the waist in the back and down in 
front to just where the fronts lap together. Remove the 
waist from the paper and shape the lower edge as you wish 
— either rounding or square, and leave it open in the front. 
Place the back edge of the pattern on a fold of the goods 
when cutting the collar. A collar cut after this fashion will 
always fit smoothly over the shoulders. The waist which it 
is cut by should be carefully fitted at the neck and shoulders 
before the collar is cut. 

Cut a bertha or cape collar on the same principle, only 
hollow it out in the neck to the desired shape, and make the 
bottom either circular, square, scalloped, pointed in the 
front, back and shoulders, or any fancy shape desired. You 
may use the front and back drafts to cut these different 
collars by, provided there were no changes made in the 
neck and shoulders when fitting the waist that was cut by 

73 



same drafts, but if there were changes made, it is a better 
and safer plan to cut by the waist. 

SOFT COLLARS. 

When cutting a soft collar, have the goods straight or 
an exact bias in front. It should be about five inches wide 
and the length at the top the same as the neck measure, and 
the bottom about two inches longer ; allow enough in length 
to finish the ends. Test the collar both at the top and at 
the bottom to see if it has the right measurements and then 
hem both sides with a narrow hem. Attach a piece of 
featherbone to each end, allowing the ends of the feather- 
bone to extend under the hems at the top and bottom, and 
then gather the ends of the collar down on the featherbone 
and stitch it there. Then turn the featherbone over and 
whip it down to the collar. A bone may be placed in the 
front also, but is is not necessary. Fasten with very small 
hooks and eyes. These soft collars should be made ex- 
tremely neat to look well. 

Coat and jacket collars will be given in the lesson on 
"Tailor Made Suits," No. 15. 

CUFFS. 
DRAFTING A CIRCULAR CUFF. 

First, measure the hand around the thickest part with 
the thumb held inside of the hand. This measure should be 
taken as snug as can be drawn over the hand, then one inch 
added to that measure. This one inch will allow for seams 
and the room the canvas will take up. 

Take one-half of this measure and add two inches to it 
and draw a rectangle whose top and bottom will each be this 
measure, and whose sides will each be six inches. Number 
these lines 1, 2, 3 and 4 respectively. (See Fig. 7, accom- 
panying this lesson.) 

Make a dot two and one-half inches on Line 1 from 
Line 4 and mark it dot E ; also make a dot down on Line 4 
two and one-half inches from Line 1 and mark it dot F. 
Connect dots E and F by a straight line. Now make a dot 
down on Line 3 one and one-half inches from Line 1 and 
mark it dot G ; also make dot H at the junction of Lines 2 
and 3. 

74 



Draw a curved line from dot G to dot E. Begin at dot 
H and draw a curved line following Line 2 about one inch 
and then curving on up to dot F. These curves may also be 
drawn with the curved ruler given for the collar, drawing 
the line from G to E by the top edge of the collar, and the 
line from H to E by the lower edge. This is just one-half of 
the cuff pattern ; when cutting a cuff of the material, place 
the line from G to H either on a straight lengthwise fold, or 
on a true bias. These cuffs are interlined with canvas and 
finished off the same as given for cuffs in Lesson 9. 

When attaching the cuff to the sleeve, place the middle 
of the cuff or dot G at the inside seam of the sleeve. This 
is a curved cuff with a narrow back; if the cuff is wanted 
even in depth all around, measure the shortest part of the 
cuff in depth and finish the bottom from this point. (See 
dotted line in Fig. 7.) 

Use the lower part of the Leg-0 'Mutton Sleeve to cut 
the long cuff so much in vogue now, cutting it any length 
desired. Use the lower Lines 8 and 9 to cut by — not the 
dotted Lines 17 and 18 shown in Fig. 4 in Lesson 5. 

The cuff for the bishop sleeve may be fixed in this man- 
ner; either cut an opening or leave the inside seam open 
two or three inches. Finish this opening by sewing a 
straight strip of the material clear along both edges of the 
opening, having the strip equal in width its entire length. 
Turn the other edge over to cover this seam and stitch it 
down. When the cuff is attached to the sleeve, turn under 
the band or strip just sewed on, at the upper or overlapping 
edge of the opening and extend it on the under side to form 
an underlap. 

Cut two pieces for each cuff, and an interlining of crin- 
oline or coarse muslin that will hold starch when laundered 
may be put in between the two pieces. Baste the interlining 
to the wrong side of one piece, then baste the second piece 
right over this, the right sides of the material facing each 
other. Stitch along both ends and one side. Trim the 
seams even at the corners and turn the cuff and baste 
around the seamed edge. If you want a few rows of stitch- 
ing around the edge, do it now. Sew the cuff portion to 
which the interlining was basted to the edge of the gathered 

75 



sleeve, allowing the seam to turn toward the outside; turn 
under the edge of the other or outer cuff piece and baste it 
to the sleeve so as to cover the first seam made, and then 
stitch, or you may stitch the first seam and then whip the 
other edge over it. 

If the opening is made at the inside seam, a plain cuff 
may be put on the sleeve before the seam of the sleeve is 
sewed up. Baste one edge of the cuff to the sleeve and 
stitch it; also stitch the sleeve seam. Turn the other edge 
of the cuff in and whip down over the seam, no lap or facing 
is necessary ; the edges of the seam are hemmed. Finish the 
opening firmly with a buttonhole bar so the seam will not 
rip. 

BLOUSES. 

Use the drafts as made for a shirt waist and extend 
Line 5 straight down to a point about six inches below the 
waist line or Line 8 ; make a dot four inches to the right of 
the end of this line and draw a line from the new dot to dot 
D; this gives a new Line 5. Extend the line (1-a) — given 
in shirt waist instructions — down one inch further than the 
new Line 5 and draw a line from the end of Line (1-a) to 
the end of the new Line 5. 

Extend Line 16 in the back six inches below the waist 
line or Line 17, and make a dot two inches to the right of 
this and draw a new Line 16 from this dot to dot R. Extend 
Line 14 six inches below Line 17 and draw a line from the 
end of this line to the end of the new Line 16. 

The pattern is now ready to cut a blouse. Place Line 
(1-a) on the straight of the goods and allow for hems; place 
Line 14 in the back on a double fold of the goods. Do not 
use the darts in front or the curved forms in the back. Cut, 
baste and then fit. It must fit very loose over the bust. The 
fronts may be hemmed with a plain hem or a plait put on 
as directed for a shirt waist. Fasten it in any mode. Hem 
the bottom of the blouse and run a rubber the size of the 
waist measure in the hem. A tape may be used instead of 
the rubber. Use the sailor collar on a blouse. The blouse 
and collar may be made V-shaped in front by cutting each 
that shape and wearing a chemisette under the blouse, which 
can be easily cut by the front and back drafts to fit the 
neck, and the lower part shaped as desired. 

76 



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78 



CHAPTER 11. 

Skirt measurements. Waist. Around the hips. 
Length in front. Length on side. Length of back. Draft- 
ing front gore. First side gore. Second side gore. Back 
gore. How to proportion width of gores for different 
measures. Testing skirt measures. Width of skirt. To 
proportion the skirt. Observations to make in taking skirt 
measures. Changes for different forms. 

SKIRT MEASUREMENTS. 

The American System uses the following five measures 
for drafting a skirt : First, waist ; second, around the hips ; 
third, length in front; fourth, length on side; fifth, length 
in back. 

To take the skirt measures: First, measure around 
the waist at the waist line, drawing it snug. (See Line 3, 
Figs 1 and 2, Lesson L) Second, measure around the full- 
est part of the hips about five or six inches below the waist 
line. (See Line 14, Fig. 1, Lesson I.) Third, place the 
end of the tape line at the waist line in front and measure 
down to the floor, allowing the tape line to touch the floor 
two or three inches in front of the feet. (See Line 15, Fig. 
1, Lesson L) Fourth, place the end of the tape line at the 
waist line on the side and measure down over the largest 
part of the hip and on down to the floor. (See Line 16, Fig. 
1, Lesson I.) Fifth, place the end of the tape line at the 

79 



waist line in the back and measure down to the floor, allow- 
ing the tape line to swing out from the feet farther than 
in front. (See Line 17, Fig. 2, Lesson L) If the skirt is 
to have a train, this measure will have to be taken as long 
as the train is desired to be. 

The measurements used in this lesson in making the 
drafts are as follows: Waist, 24 inches; around the hips, 
42 inches; front length, 42 inches; side length, 43 inches; 
back length, 44 inches. 

As the seven gore skirt is very popular at all times, 
and is quite easy to make, we will use it in this lesson. Be- 
fore attempting to draft a skirt patttern, it is necessary to 
determine how wide the gores are to be at the hips, which 
is done in the following manner: Allow two or three 
inches from the hip measure for the back gore and divide 
the balance of the hip measure by five, as there are five 
gores to draft after the back gore is deducted — one front, 
and two side gores on each side. Remember there are two 
back gores also. 

As the hip measure in this lesson is 42 inches, subtract 
two inches for the back, which leaves 40 inches to be divided 
by five — the number of gores — which gives eight inches for 
the width of each gore at the hips. Make them about two 
inches wider at the knees, and about twice as wide at the 
bottom as at the knees. The skirt should begin to flare at 
the knees or about 24 inches from the waist line. If the 
skirt has a very short front measure, commence the flare 
about two inches further up. 

DRAFTING FRONT GORE. 

The pattern we draft in this lesson is for a drop skirt 
or lining. 

Draw a straight line 42 inches long — the length of the 
skirt in front, and mark this Line 1. Measure down from 
the top of this line six inches ajid make dot H (hip) and 
also make another dot 24 inches from the top and mark 
this dot K (knee). Dot H marks the hip width and dot K 
the flare at the knees. 

From the top of Line 1 measure straight out to the 
right two and one-half inches and make dot W (waist), 
and draw Line 2 from the end of Line 1 to this dot; this 

8o 



is the width of one-half of the front gore. (See Fig. 8 ac- 
companying this lesson.) Since we are to make the width 
of the gores at the hips eight inches, the front gore must 
be about five inches wide at the top, and as we are only 
drafting one-half of the front gore, we make it two and 
one-half inches wide at the top. Line 1 is to be laid on a 
double fold of the goods when cutting a skirt. 

Now, measure straight out to the right from dot H 
four inches (one-half of eight) and make another dot H, 
as it is for the hip also. Measure out from dot K to the 
right five inches (one-half of 10, since it is two inches wider 
at the knees than at the hips), and make another dot K. 
Then, using the tape line, measure from dot W to dot H and 
on to dot K, and on down to the 42-inch mark on the tape 
line, making the width at the bottom about twice that at 
the knees ; mark this point dot B (bottom) . Draw a curved 
line from dot W to dot K through dot H and down to dot B, 
and mark this Line 3. This line must be the same length 
as Line 1. Connect dot B with the bottom of Line 1 and 
mark it Line 4. (See Fig. 8.) 

Make a dot on Line 1 one-half inch from Line 2 and 
draw a curved line from this dot to dot W. This forms 
a curve to fit over the stomach. In case of a large, full 
stomach, this line must be raised up above Line 2 inscead 
of curving down as it does in this draft, or the skirt wjll 
*'pull up" in front. 

DRAFTING FIRST SIDE GORE. 

Proceed as in front gore by first drawing a straight 
line 42 inches long. Since this line joins to Line 3 in front 
gore it must be the same length as that line; mark this 
Line 5. Measure down six inches from the top of Line 5 
and make dot H; also make dot K 24 inches from the top 
of the line. 

Measure straight out to the right from the top of Line 
5 and draw Line 6. (See Fig. 9.) Make a dot on this line 
five inches from Line 5 and mark it dot W (waist.) Since 
this gore is whole, we must make it eight inches wide at 
the hips, so measure out to the right from dot H eight 
inches and make another dot H (hips also). Measure out 

8i 



from dot K to the right two inches farther than at dot 
H, or 10 inches, and make another dot K (knees also). 

Now, begin at dot W and measure with the tape line 
down to dot H and on to dot K and on down to the 43-inch 
mark on the tape line, making the width at the bottom 
twice that at the knees, and mark this point dot B, Draw 
a curved line from dot W through dot H and dot K, and on 
to dot B, and mark this Line 7. This line must correspond 
to the side measure in a seven-gore skirt. Connect dot B 
with the bottom of Line 5 and mark it Line 8. 

Make a dot on Line 6 one inch from Line 5, and lower 
this dot one-half of an inch and draw a slight curve from 
this dot to dot W ; also draw a line from the new dot to dot 
K on Line 5. (See Fig. 9.) This will take off a little full- 
ness so as to make the skirt fit smoothly over the hips. 
Mark it Line 9. 

DRAFTING SECOND SIDE GORE. 

Draw a straight line 43 inches long — the same length 
as Line 7 in the first side gore, as the two are joined to- 
gether, and mark it Line 10. Make dot H down six inches 
and dot K 24 inches from the top of this line. Also draw 
a line straight out to the right from the top of Line 10 and 
mark it Line 11. (See Fig. 10.) 

Since the front edge or Line 10 of this gore is to be 
sewed to Line 7 of the first side gore, it must have the same 
curve over the hips as Line 7. This is ascertained in the 
following manner: Measure from dot H on Line 7 in the 
first side gore straight up to Line 6 (see the dotted line in 
Fig. 9), and make a dot there. Now, measure from this 
dot to dot W at the left, and whatever that measure is, 
measure off the same distance on Line 11 from Line 10 in 
the second side gore, and make a dot there and mark it dot 
W. Make this gore the same width at the top as the first 
side gore. You recall that on Line 6 in the first side gore, 
we took off one inch and made a dot there and then lowered 
the dot one-half inch from which to draw Line 9 in order 
to make the gore fit smoothly over the hips. That left the 
gore four inches wide at the top, so make the second side 
gore four inches wide at the top also. Make a dot then 

82 



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four inches to the right of dot W on Line 11 and mark it 
dot W. (See Fig. 10.) 

Measure out eight inches from dot H and make another 
dot H; also measure out ten inches from dot K and make 
another dot K. Place the end of the tape line on the sec- 
ond dot W and measure to dot H and on to dot K and on 
down to the 44-inch mark on the tape line, making the 
width at the bottom a little more than twice as much as at 
the knees, and mark the point dot B. Draw a line from the 
second dot W to dot H and on to dot K and on down to dot 
B, and mark it Line 12. Connect dot B with the end of 
Line 10 and mark it Line 13. Draw a curved line from the 
first dot W to the second dot W; also draw a curve from 
the first dot W to dot H on Line 10. (See Fig. 10.) 

When drafting 'a skirt with a ten-inch train, the back 
edge of the second side gore or Line 12, should be about 
seven inches longer than the front measure or Line 1 in Fig. 
8; or, two-thirds of the difference between the front and 
back measures. The back edge of the back gore should be 
about three inches longer than its front edge, or Line 14. 

DRAFTING BACK GORE. 

Draw a straight line 44 inches long, or the same 
length as Line 12 in the second side gore, since the two will 
be seamed together, and mark it Line 14. Measure down 
six inches on this line and make dot H; also make another 
dot H four inches to the right of this dot. From the top of 
Line 14, draw a line straight out to the right and mark it 
Line 15. (See Fig. 11.) In this draft the back gore is 
made three and one-half inches wide at the top. However, 
it may be made wider if desired, only when making it wider, 
make the second dot H further out than given here. So' 
measure three and one-half inches on Line 15 from Line 14 
and make a dot; mark it dot W (waist). Place the end of 
the tape line on dot W and measure to dot H and on down 
to the 44-inch mark on the tape line, making the bottom 
from ten to twelve inches wide, and mark the point dot B. 
Draw a line from dot W to dot H and on to dot B and mark 
it Line 16. Connect dot B with the end of Line 14 and 
mark it Line 17. Draw a curved line from the junction of 
Lines 14 and 15 to dot W. (See Fig. 11.) 

85 



In proportioning the width of the gores at the waist 
line, hips, knees and bottom, make the gores at the knees 
two inches wider than at the hips; make the second side 
gore the same width at the top as the first side gore. The 
front and first side gores should each be about twice as 
wide at the bottom as at the knees; the second side gore 
should be a little more than twice as wide at the bottom 
as at the knees. The back gores should be about the same 
width as the whole front gore at the bottom. 

If you want both edges of each gore flared, place dot 
K on Lines 5 and 10 about three inches farther up and draw 
new Lines 5 and 10 from the new dots K on same lines to 
points about two and one-half inches to the left of the bot- 
tom lines in the first and second side gores. The flare may 
be commenced at dots H on these lines if desired, or at 
any point between dots H and K. Where sharp corners oc- 
cur at dots K on the back edges of the first and second side 
gores, put in curved or slanting lines to take out the cor- 
ners. The lines at the bottom of each gore should be 
rounded some. 

TESTING SKIRT MEASURES. 

Measure the waist line in each gore and multiply it by 
two, since this is just one-half of the skirt. This should 
test out about four inches more than the original waist 
measure, as it includes the fullness in the back gore. 

Measure between dots H in each gore to test the hip 
measure. Multiply it by two, which will give the entire hip 
measure. It should test out about four inches longer than 
the original measure, as the back gore has the fullness for 
the back included, while the measure itself was taken 
around the hips plain. If it tests out more than four inches, 
leave it so, as the back gores may be made as wide as de- 
sired. 

Measure around the bottom of each gore and multiply 
it also by two. This will give you the width of the bottom 
in inches; divide by 36 to ascertain the width in yards. 
From three to four yards is wide enough for an ordinary 
plain skirt, though it may be made fuller by making the 
back gores wider. 

86 ^ 



TO PROPORTION THE SKIRT. 

The proportions given in this lesson for the size of the 
gores at the waist line are for a 24-inch waist measure. 
When drafting a skirt for different waist measures, use the 
24-inch waist measure as a basis. 

If the waist measure is 26 inches, make all the gores 
enough wider at the top to take in the extra two inches. 
There are five seam edges to make on each side — one oi 
the front, and two on each side gore, making ten seam 
edges in the whole skirt. Divide the extra two inches 
among the ten edges, making each seam a little over one- 
fifth of an inch further out than it is in the 24-inch waist 
measure. If there are more than two inches to add to the 
waist measure, make the gores proportionately larger at 
the waist line, dividing equally among the ten seam edges 
the amount over 24 inches. In waist measures smaller than 
24 inches, reduce the gores in the same proportion. 

When taking skirt measurements, always observe in 
particular the build or form of the person. You may take 
the measures of two persons who have the same waist and 
hip measures, and yet their forms be entirely different ; one 
may have a large, full stomach and be flat on the hips, 
while the other may have a flat stomach and very large, 
round hips. Thus, you see, the skirt drafting for these two 
persons would have to be quite different. The one with a 
full stomach and flat hips would have to have deeper curves 
on the edges of the front and first side gore, and instead of 
curving down at the waist line, add a little more above Line 
2 in front to keep the skirt from pulling up in front; the 
hip curves must also be drawn with less curve than in the 
large-hipped person. 



87 



CHAPTER 12. 

Cutting Lining for Skirt. Making gores. Width of 
seams. Basting skirt lining. How to make corrections. 
Finishing seams. Trimming bottom. Use of canvas. Use 
of haircloth. How to cut and use each. Facing. How to 
use velveteen. Opening in back. Band. Arranging full- 
ness in back. Walking skirts. Measurements. Length of 
back gore. Cutting. Sponging. Shrinking. Cutting goods 
with an up and down, with a plaid, etc. 

CUTTING THE SKIRT. 

Very few skirts at the present time are lined, or if a 
lining is used, it is in the form of a foundation or drop 
skirt, made entirely separate from the outside skirt. The 
lined skirt is scarcely ever seen, though there is some talk 
of its return, but it is hardly likely to be very popular, as it 
is always so heavy. This, you will remember, is for a drop 
skirt or a lining. 

Lay the front gore with Line 1 on a fold of the goods, 
as this is the center of the front, having the bottom of the 
draft at the end of the goods, in order that you may place 
the top of the next gore up into the piece left. Trace the 
lines that outline this gore — waist, side and bottom. When 
cutting, leave a three-fourths inch seam on the sides and cut 
it from one to one and one-half inches longer than the 
tracing. 

88 



Cut the other gores in the same manner, keeping the 
straight edge of each gore on a straight line of the goods. 
When the material is narrow, you may have a piece on the 
lower part of the bias edges of the goods. When you do, 
be sure to have the piecings cut on a straight line of the 
goods where it is to be sewed to the gore. Do not piece a 
bias edge to a straight edge. When cutting gores that have 
the flare on both edges, place the center of each gore on a 
straight thread of the goods. 

After cutting the gores, mark the seams with notches 
near the top — the front gore with one notch and the front 
side of the first side gore with one notch, as these two 
edges join. Mark the back edge of the first side gore and 
the front edge of the second side gore with two notches as 
these two edges join. In other works, mark Lines 3 and 5 
with one notch, and Lines 7 and 10 with two notches, and 
Lines 12 and 14 with three notches. This will enable you 
to keep the gores from getting misplaced when basting 
them, 

BASTING THE SKIRT. 

Always start with the front gore and pin the first side 
gore to it, beginning at the top and pinning down rather 
close, and be very careful not to stretch the bias edge. Pin 
all the gores this way before basting, placing the straight 
edge of each to the bias edge of the other, or, put the cor- 
responding notches together. Hold the bias edge next to 
you in each case. This is very important. The two bias 
edges of the back will come together at the center in the 
back. Leave an opening in this seam for the placket. Use 
short stitches when basting. 

FITTING THE SKIRT. 

Cut a strip of lining lengthwise about two and one-half 
inches wide and the length of the waist measure plus two 
inches extra for lapping, and notch the center. Pin this 
around the person you are to fit, and place the notch direct- 
ly in front. Do not lap the ends of the band in the back, 
but pin to form a seam. 

Put the skirt right side out on the person and pin the 
center of the front gore to the center of the band ; also pin 

89 



all the seams to the band, letting them come up easily and 
smoothly over the hips and having them straight from the 
hips to the w^aist line. Pin so the seams will not slant 
tow^ard the back. 

If the gores are too wide at the top, you will have to 
take the fullness out at the seams. The best way to do this 
is to smooth the fullness as close to the seam as possible and 
pin the skirt to the band, having the fullness between the 
pin and the seam. If there is any fullness on the other 
side of the seam, dispose of it in the same way. This will 
leave the seam pinned with the pins at three different 
places. When you take the skirt off to rebaste it, remove 
the center pin which fastened the seam to the band, and 
the edges of the gores will still be held in place on the band 
by the other pins. 

If the fullness is taken from one edge only, pin as di- 
rected above, always placing a pin on each side of the seam. 
Rip the St am open a short distanct and let the fullness out 
from just the one side and then rebaste. If the fullness is 
taken from both sides just pin the seam enough larger to 
take up the fullness, pinning down toward the hip the width 
of the seam. Notice all the seams closely to see that they 
run straight from the hips up to the waist line; if they do 
not the gores will not hang evenly. If the gores are too 
narrow to permit the seams to come up straight, pin the 
seams to the band and then fit the hips so as to make and 
keep the seams straight. Always be very careful to test 
your drafting accurately around the hips before cutting, 
for the error is hard to correct when cut too small. 

If the skirt is too loose over the hips, take the seams 
deeper, and it may be necessary to let them out just a little 
at the waist line. If the skirt draws across the stomach, 
loosen it on both front seams. Arrange the inverted plait 
in position in the back and pin it. If all necessary changes 
have been made, have the person sit down in order to ascer- 
tain if the skirt sets well in front when she is sitting; it 
will roll up across the stomach if it is too tight there. Ex- 
traordinary care must be exercised here as the skirt must 
not be fitted too tight around the hips and stomach and yet 
it must not be allowed to hang in little lengthwise folds or 
ripples from the waist to hips. Be sure that all the changes 

90 



are marked. Remove the skirt and rebaste the changes to 
be made and baste the skirt on to the band where it is 
pinned, except the inverted plait; this must be re-arranged 
during the second fitting. 

Now put the skirt on again and lay the inverted plait 
so that its edges will come together for five or six inches 
below the band, without having to be drawn together to 
make it stay in position. If you prefer to have this full- 
ness gathered instead of the plait, have the gathers occupy 
about three inches — one and one-half inches each side of the 
placket. 

The instructions given in Lesson 11 are for a round 
seven-gore skirt. By "round length" is meant a skirt that 
just touches the floor all around. If you are going to make 
a fancy skirt, make it to touch the floor in front and on 
each side and with a graceful sweep, in the back. Com- 
mence the sweep at the second side gore, but be sure first 
that this gore fits perfectly smooth over the hips, as some- 
times they take it up more than you had counted on and it 
will be too short; the skirt must be even at the bottom 
or the beauty of the sweep is lost. 

Before ascertaining the length, see if the skirt sags or 
pulls down in the back; if it does, raise it up and trim off a 
little at the top. If trimming it makes it too large at the 
waist line, take the seams up a little. If one hip is higher 
than the other, which is frequently the case, pad the lower 
one enough to make it the size of the other. Mark just 
how far the padding must extend. 

If the person is very slender and the skirt is made plain 
around the hips, her appearance would be much improved 
if both hips were padded a little. If she is flat in the back, 
a small bustle should be worn, or a pad may be made and 
fastened in the skirt at the last fitting; slope it off gradu- 
ally from the waist line. 

Now that all the padding is done and the bustle ar- 
ranged, the skirt length can be measured. 

Fit the skirt over the same number of petticoats as 
will be worn with it, as a skirt may be made from one-half 
to one inch shorter by a different set of petticoats. These 
petticoats should all fit smoothly over the hips to make the 
skirt set well. 

91 



Remove the skirt and mark all changes in the bottom 
with a colored thread. Mark both sides alike. You cannot 
be too particular about this. 

STITCHING THE SKIRT. 

Commence at the top of the seams and stitch down to 
the bottom. When stitching the back seam, stitch in at 
the same time a straight strip of lining about one-half inch 
wide; this will prevent the bias seam from stretching or 
sagging. Draw out the basting thread and trim the seams 
evenly and notch them in several places where the flare 
comes so they will not draw. The seams may be overcast 
or bound, using binding ribbon with which to bind them. 

Now, finish the placket opening. If you are making 
a drop or foundation skirt, do not use canvas, but just a 
strip of lining and make a fly about one and one-half inches 
wide and sew to the left side of the opening. Face the right 
side with a facing about one and one-half inches wide and 
stitch it down firmly at the bottom over the fly. Press the 
seams and then stitch the banc^ on. Other ways of fixing 
the placket will be given in a later lesson. 

FINISHING THE BOTTOM. 

The instructions given for a drop or foundation skirt 
also apply to the outside skirt, only the backs in the outer 
skirt are made wider, to allow more for the inverted plait. 
The following instructions are given for finishing the out- 
side skirt: 

Fold the skirt together at the center front fold, and 
pin the corresponding seams together at the top. Be ex- 
tremely particular when doing this as the skirt must hang 
even all around. Now pin the front seams together all the 
way down, then the two first side gore seams, and so on 
until all the seams are pinned. Notice if the gores are the 
same width at the bottom. If not, make them so by taking 
up the seams of the widest one. After they are all pinned 
together evenly, put in a few pins between the seams near 
the bottom so that both sides will be held firmly. 

Now notice if both sides are marked even in length. 
Run the tracing wheel on one side on the mark for the bot- 
tom, and then see if the other side corresponds to this one. 

02 



Or, take the tape line and measure each seam, noticing 
whether the corresponding seams are the same length. 
When you are certain they are all the right length, trim the 
skirt off around the bottom, leaving about one-half inch 
below the marked or traced bottom line; this one-half inch 
is to turn over the facing. 

BASTING THE CANVAS ON. 

Cut a strip of canvas about two or three inches wide 
on the true bias. If it is cut wider than three inches it 
will have to be cut to fit the bottom of the skirt. Baste the 
canvas on the inside of the skirt, placing the edge of the 
canvas on the marked line for the bottom of the skirt. Hold 
the canvas towards you and baste real close to the edge, 
drawing it just a trifle when you come to the curves at the 
bottom. After basting all around, turn the skirt so the ma- 
terial or the right side of the skirt will be next to you in- 
stead of the canvas. Hold the canvas in position with your 
left hand and baste it at the top from the outside. After 
this is done, baste the one-half inch space at the bottom of 
the skirt up over the canvas. 

If preferred, haircloth may be used instead of canvas; 
it will make a much lighter facing. If you use haircloth, 
cover its seams with a piece of cloth or lining or the hairs 
will work through to the outside. Cut the haircloth so the 
hairs will run around. Use skirt featherbone if you want 
the skirt to stand out well at the bottom. Stitch it in with 
the machine at the top of the canvas. If you do not use 
the featherbone, put a few rows of stitching around the top 
of the canvas. 

APPLYING VELVETEEN. 

Sew one edge of the velveteen to the lower edge of the 
skirt on the inside, using a short running stitch. Begin at 
the back, lay the right side of the velveteen toward the 
skirt, and allow the edge to lie on the skirt just a narrow 
seam's width, the remainder of the velveteen extending be- 
low the bottom of the skirt. Sew this on with an occasional 
back stitch, being careful to take the stitch into the facing 
only and not through to the outside. Be sure and do not 
stretch the velveteen. 

93 



After the lower edge has been properly sewed on, turn 
the skirt on the right side, crease the velveteen so that 
about one-eighth of an inch will extend below the bottom of 
the skirt and then baste it all around on the right side. 
Turn the skirt again and turn in the top edge of the vel- 
veteen and whip it down to the facing. Some dressmakers 
do not turn in the top edge, but cat-stitch across the raw 
edge to hold it to the skirt. 

Another way of applying velveteen is to place it right 
side down on the material and baste it and then stitch it. 
This is done before the facing is put on. Baste the vel- 
veteen on first, then the facing, and then stitch. Turn and 
baste the facing down smoothly and stitch if you desire, or 
catch it down lightly to the material. Fold the velveteen 
down on the facing, allowing it to come about one-eighth 
of an inch below the bottom of the skirt, and then baste it ; 
finish by whipping it down to the facing. If braid is used 
instead of velveteen, it must be shrunk first by dipping it 
in water and then pressed until dry. Press the bottom of 
the skirt well after it is finished. 

WALKING SKIRTS. 

When taking the measure for a short walking skirt, 
take them just to the floor and then take off an equal 
amount from each measure. The skirt will then hang even 
all around and you will have the correct measure over the 
hips. A walking skirt should clear the floor about two 
inches. Draft it plenty long, however, as some people take 
up a skirt on the hips and stomach more than others. 

Do not draft the gores quite so wide at the bottom ex- 
cept the back gore, which will need to be wider. Do not 
flare the lower part of Lines 3, 7 and 12 quite so much, 
commencing about two inches below dots K to decrease the 
flare. Make the back gore at least four inches wider all the 
way down and curve the top at the waist line. 

CUTTING AND FITTING THIS SKIRT. 

All cloth must be sponged and shrunken before cutting 
and making a skirt, or it will shrink and show spots after 
it is made. Take a damp cloth or sponge and thoroughly 

9+ 



dampen the goods and then press it until dry; do not have 
the iron too hot. 

If the cloth has an up or down or a nap, be very care- 
ful to cut all the pieces one way; if there is a plaid in the 
goods, place dot H always on the same mark of the plaid. 
Place the center of the front gore on the fold of the goods 
and arrange the other gores to the best advantage not to 
waste the goods, being sure to keep the straight edge of 
each gore on a straight thread of the goods. Cut and baste 
according to instructions given for the round length skirt. 
Stitch all the seams except the back seam. Leave this open 
until the seams are stitched on the outside or any trimming 
of straps, etc. Finish the seams on the inside by binding 
or overcasting. 



95 



CHAPTER 13. 

Making Straps and Bands. Putting on skirt. Stitching 
on bands. Stitching the back seam. Finishing the placket. 
Different ways of finishing the placket. Hooks and eyes. 
Arranging hangings. Pressing. FIVE-GORE SKIRT. 
Cutting width of gores at the hips. Omitting second side 
gore. NINE-GORE SKIRT. Width of gores at the hip, at 
the waist, at the bottom. Width of front gore. Width of 
first two side gores. Width of third side gore. 

MAKING STRAPS AND BANDS. 

If the seams are to be finished with straps, cut the 
straps the desired width from the cloth; if not too wide, 
they need not be lined with canvas. However, if they are 
over an inch wide, a light weight interlining of canvas will 
be needed. Cut the canvas the desired width and then cut 
the goods enough wider to turn over the canvas and to baste 
down. Baste this on to the skirt and then stitch; or stitch 
the strap first and then apply to the skirt by hand. 

If the gores are to be trimmed with bands in any 
fancy design, cut a paper pattern in the form of the design 
and lay it on the gore and outline it with crayon or tailor's 
chalk, and then follow these lines or marks with the bands. 
Cut the bands on the bias and be sure to have them even. 
Do not baste them on too tight or they will draw. After 
all the trimming is on and the seams finished, stitch the 

96 



back seam, as, you remember, it was left open in order to 
make the trimming easier to put on. 

Finish off the placket, using canvas in the fly and fac- 
ing. The placket is one of the most important considera- 
tions in a well-made skirt and should be given careful and 
close attention. It may make or mar the general appear- 
ance of an entire gown. The skirt may be thrown entirely 
out of position and given a very careless appearance by the 
absence of hooks and eyes on the placket, or because they 
are sewed on in a manner as to be nearly useless. 

The question of using either hooks and eyes or the pat- 
ent fasteners must be settled by the individual. Many pre- 
fer the latter, while others would have nothing but the 
former, but both are very good and have been used together 
with satisfactory results. Whichever is used, see to it that 
they are sewed on firmly and close enough together to in- 
sure sufficient protection against the strain at this point. 

Plackets may be arranged either at the back, front or 
side of a skirt, depending upon the design, and there are 
many methods of finishing them. The opening should be 
only as large as is necessary to get the skirt easily over the 
hips — the shorter it is the better, provided it is not too short 
to slip on and off easily. 

The habit-back skirt requires even more careful at- 
tention at the placket opening than any of the other designs, 
as the closing must be made as invisible as possible. The 
back seam should appear to continue to the waist line and 
there should be no gaping at the opening. The best method 
of fastening this skirt is as follows: 

Stitch and press the back seam, leaving an opening for 
the placket. Lay a canvas facing one inch wide on the 
right-hand side from top to bottom of the placket. Turn 
the edge of the material over this the width of the seam and 
cat-stitch and press. Put the hooks on equal distances 
apart — about one inch to insure a perfect closing. Cover 
or face this with a piece of lining and hem it down neatly 
by hand. Sew an underlap on the left-hand side and mark 
the places on the underlap for the eyes to correspond with 
the hooks. Push the rings of the eyes back into the seam 
which joins the underlap to the skirt without breaking the 
machine stitching. They may then be sewed to the under- 

97 



lap on the wrong side ; sew them on firmly. If you care to 
do so, you may finish the eyes by buttonhole stitching all 
around the part that is visible. 

Occasionally the opening in a skirt is on the left-hand 
side of the front under a tuck or plait. Sometimes an ex- 
tension lap is put on the outside of the front closing and an 
underlap applied to the side gore that joins it. This exten- 
sion may be cut any shape desired, either with straight lines 
or fanciful curves. Cut two laps, having one edge of each 
straight, and then stitch them together along the outline or 
curved edges, leaving the straight edges open to be sewed 
to the skirt. Work three buttonholes in the extension lap, 
one each at the top, center and bottom, then after it is 
sewed to the skirt sew three buttons on the skirt to corre- 
spond with the buttonholes. The underlap is cut and sewed 
to the side gore the same as any other underlap. 

This extension may be allowed on the front gore when 
cutting; it is then lined or faced and machine stitched and 
made to fasten upon the side gore, either with buttons and 
buttonholes or hooks and eyes. In this case, no underlap is 
needed unless desired. 

FINISHING THE BOTTOM OF A WALKING SKIRT. 

If the bottom of the skirt is to be stitched with several 
rows of stitching, face the skirt either with itself 
or with bias strips of light weight flannel, cotton and 
wool mixture, so the stitching may show with better effect. 
The facing should be basted around on the skirt several 
times, beginning at the bottom and basting one row, then 
another, and so on until the top of the facing is reached. 
This will prevent the skirt and facing from slipping when 
being stitched. Stitch the first row near the edge so as to 
catch the facing and then stitch the rows about one-fourth 
of an inch apart until you reach the top of the facing. Be 
careful to have an easy tension on the machine that the 
stitching may not draw. A wire gauge fastened to the 
needle bar will make the stitching more even. After the 
stitching is finished, turn up the bottom at the tracing or 
marked line for the bottom of the skirt, and hem if it is 
long enough ; if not, it will have to be faced with a lining. 

If you do not care for so much stitching and a simple 

98 



hem is preferred, baste a bias strip of lining or cambric in 
the bottom of the skirt in the same manner as the flannel, 
and turn the hem over it and baste in place and then one 
or two rows of stitching may be put in at the top. 

Fasten the belt or band of the skirt at the top with 
hooks and eyes. Do not have the band too wide. Draw out 
all the basting threads and press the skirt well. Use a long 
ironing board so as to stretch the skirt out full length. 
Begin with the front gore and press out any folds or 
wrinkles that may be in it. Dampen the seams and press 
until perfectly dry. Keep the skirt straight on the board 
and press up and down — not back and forth. Press the in- 
verted plait in the back, and the bottom of the skirt thor- 
oughly. 

Put a hanger or loop on each front seam and one in the 
center of the back so that the skirt will hang even when 
hung up. If you wish to make an outside belt of the same 
material, cut it on the bias about one and one-half inches 
wide. Turn the edges in and stitch and then press. Face it 
with a piece of lining, sewing the facing on by hand. The 
belt may be made either long enough to just meet or to lap 
in front. In the latter case, make the ends pointed and 
fasten it with one or two claps. 

HOW TO FINISH A DROP OR FOUNDATION SKIRT. 

A drop or foundation skirt may be made of taffeta, 
percaline, nearsilk, or any like substance. This skirt is 
usually finished with an accordion- plaiting flounce, which 
may be any prescribed depth, or with two or three ruffles 
or a wide ruffle, a ruching, or any way you desire. If you 
use accordion-plaiting and do not have a plaiter, you will 
probably have to send it out to be plaited. If you make it 
yourself, cut the goods crosswise, the depth you wish the 
plaiting to be and sew the pieces together and press the 
seams open. You will need about three and one-half times 
the amount of the width of the skirt where the plaiting is 
to be applied. Be sure and have the plaiting an 
even depth all the way. Hem both edges with the hem- 
mer; the lower edge may be left plain or it may be finished 
with a narrow ruching about three-fourths of an inch wide, 
made of the same material as the flounce. Cut the ruching 

L OP C. 99 



on the true bias and either hem both edges or fray them 
out; gather it in the center and stitch to the bottom of the 
plaiting through the gathering thread. After plaiting the 
flounce, join it to the skirt, having the lower edge of the 
flounce come even with the bottom of the skirt; cover the 
edge where it joins on to the skirt with ribbon binding, or 
with a narrow facing of silk. 

If two or three ruffles are used, hem the lower edges 
and gather the tops and apply to the skirt. As much care 
should be exercised in the fitting and making of these foun- 
dation skirts as the outside ones. 

FIVE-GORE SKIRT. 

Take the skirt measure as directed for a seven-gore 
skirt and make the calculations for the width of the gores 
at the waist and hips also the same. Omit the second side 
gore and add its waist and hip width to the front and first 
side and back gores. For instance, if the hip width of the 
second side gore is eight inches, add one inch to each side 
of the front gore or Line 3, and also add three inches to the 
back edge of the first side gore or Line 7, and the balance 
to the front edge of the back gore or Line 14. To propor- 
tion it for other measures, taken one-half of the width of 
the second side gore and add it to the back gore or Line 14 ; 
take one-fourth of the remaining half and add it to the front 
gore or Line 3, and add the balance to the back edge of the 
first side gore or Line 7. 

Thus you see when the width of the gores at the hips 
in a seven-gore skirt is eight inches, for a five-gore skirt 
make the front gore one inch wider on each edge, and the 
first side gore three inches wider on its back edge, than 
given in Lesson 11. The width of the gores at the waist line 
is divided in the same way. The back edge of the first side 
gore in a five-gore skirt, or Line 7, must be the same length 
as the side length measure. 

NINE-GORE SKIRT. 

Take the measures as given before and make the calcu- 
lations for the width of the gores at the waist and hips by 
subtracting two inches for the back from each of the waist 
and hip measures and divide the remainder by seven. The 

100 



tops of all the gores should be the same width. Make the 
side gores at the top about one-half of an inch wider than 
the calculations; this one-half inch is to be taken off the 
front edges of each gore at the top to form the curve to 
fit over the hips and stomach. Make a dot then on the top 
lines of the side gores one-half inch from the front lines 
and draw a line from each of these dots to dot H. 

The width of the bottom of the front and first and sec- 
ond side gores should be about the same as in a seven-gore 
skirt. Make the back edge of the second side gore the same 
length as the side length measure. The third side gore 
should be a little wider at the bottom than the second side 
gore in a seven-gore skirt. The backs are drafted the same 
as given for the seven-gore. If you are drafting for a habit- 
back skirt, divide the full waist and hip measures by nine, 
using a very loose hip measure. The nine-gore skirt makes 
a pretty round-length skirt also, but the seven-gore gives 
better results in a train skirt. 



1 01 



CHAPTER 14. 

Circular Skirt. Width of gores at waist and hips. 
Different ways of drafting a circular skirt. Darts at the 
waist line. FLARE SKIRT. Basting and stitching the 
seams. Determining the hip depth for the flat seams. Fin- 
ishing seams. Finishing the bottom of skirt. PLAITED 
SKIRTS. Arranging of plaits. Lengthwise tucks at the 
seams. Allowing for tucks. SHIRRED SKIRTS. Kind of 
shirring. Marking for shirring. Yoke pattern for skirts. 
Accordion plaiting. 



CIRCULAR SKIRT. 

Lay the front and first side gore of the seven-gore 
round-length skirt on a large piece of paper, placing Lines 
3 and 5 together and pin the second side gore on to the first 
side gore and the back gore on to the second side gore 
at the waist and hip lines, and let the bottoms of the last 
two lie as they will. Now measure along the waist and 
hip lines and if you wish an inverted plait, allow for it; 
if it is a habit-back skirt, use just the original waist and 
hip measures. Cut along the waist and bottom lines and 
down Line 16. 

The skirt may also be cut by placing the gores together 
from dots H to the bottom, letting the tops lie as they will. 
The fullness at the waist line is taken up in small darts 

I02 



over the hips to make it fit smoothly. There will not be so 
much width at the bottom, however, as in the former. 

If you want a skirt cut circular in front only, place the 
front, first and second side gores together as directed in 
the first method of cutting the circular skirt and then cut 
the back gores separately. A circular skirt cut after this 
fashion will prevent, to some degree, the sagging which 
sometimes occurs in a circular skirt, caused by some parts 
of it coming on the bias. 

FLARE SKIRTS. 

Instructions have been given in a former lesson for 
cutting a skirt to flare on both edges of each gore below 
the hips. A few words here in regard to special treatment 
in the finishing, to preserve the flare and make them hang 
in just the proper manner, will not be amiss. After bast- 
ing and stitching the seams, try the skirt on and pin a tape 
around to determine the hip depth to which the flat seams 
shall extend, for in a flare skirt, the seams above the hips 
must be finished so they will lie open and flat, while below 
the hips they are finished off together. Mark the skirt with 
a basting thread along the edge of the tape. Remove the 
skirt and clip both edges of each seam on the inside at the 
basting thread in order to divide the flat-finished seam 
from the rippled part. Extend this clip the full width of 
the seam edges, running in close to the stitching. Open and 
press the seams above the clip and finish each edge neatly 
with binding ribbon or notch them. Or the seam may be 
finished with a row of machine stitching at each side of the 
seam and quite close to it. 

Now mark up from the bottom just how far the hem 
or facing is to extend, usually about three inches, and clip 
the seams also at this point, and open and press them below 
the clip, in order to do the hemming or facing poperly. 
The seams between the clips must be bound together, using 
a narrow strip of lining or binding ribbon. Do not press 
this part of the seam to either side, but allow it to stand 
out straight from the inside of the skirt, which will give 
a pretty rippled effect to the gores. 

Interline the bottom with crinoline, having the edge of 
the crinoline come to the tracing line that marks the bottom 

103 



of the skirt and turn the bottom up over the crinoline at 
the tracing line and baste it. Baste over this a bias facing 
and whip the lower edge to the turned-up edge of the skirt ; 
the upper edge may be hemmed down by hand or by several 
rows of machine stitching. 

PLAITED SKIRTS. 

Under this head may be included side-plaited and box- 
plaited skirts, skirts plaited in clusters and those of single 
plaits with more or less space between them. All of these 
skirts, if properly constructed, present a very ch.-i-.ir.ing 
appearance, and it is very imperative that their const ru'ition 
be thoroughly understood in order to overcome the diffi- 
culties presented in the different designs that fashion 
decrees. 

In skirts of seven, nine, or more gores, the adjustment 
of the plaits is not so difficult, since alterations may be 
made at the seams, but in the few gore skirts it is not 
always so easy to obtain the correct position of the lines 
and get the plaits symm-etry?al. Much, however, depends 
on the joining of the skirt to the band or belt so that the 
plaits themselves will be uniform. 

If you wish to make a skirt that is tucked at the seams, 
measure the width of the tucks and allow twice the width 
of the tuck for one tuck. This extra width must be allowed 
on the straight side of the gores when cutting; keep the 
front edge of each gore straight. When fitting a skirt with 
lengthwise tucks, to the band, the extra fullness at the top 
of the skirt may be laid under a tuck. 

If you desire a skirt with plaits placed in about knee 
depth or below, allow an extension from that point on the 
bias edge of the gore, wide enough to make as many and 
as wide plaits as desired; do not cut the back edge of this 
extension bias, but straight down from top to bottom. Cover 
the plaits where they are fastened down at the top with a 
fancy strap or with buttons. Finish the bottom of the 
skirt as you wish. Folds make a very pretty finish. Make 
them on the true bias and use them double of the goods. 
They may be either stitched on or put on by hand — either 
to overlap or with a space left between them. 

Gored skirts that have a side plait or an inverted box- 

104 



plait let into the seams some distance up from the bottom 
are sometimes troublesome through a tendency of these 
inlet plaits to show below the bottom edge of the skirt, as 
there is nothing to which to sew them. This difficulty may 
be overcome in this manner: Bind the top of each plait, 
and after the skirt is otherwise finished, take a tape or a 
strap of lining and sew it to the top of each plait, letting 
it extend from one to the next all around the inside of the 
skirt. In a light-weight skirt this is generally found to be 
enough, but in a heavy-weight cloth skirt a short tape or 
strap may run diagonally from the top of each plait to the 
next seam and be firmly sewed there to the wrong side. 

When a plaited skirt is made of material that will 
launder, the laundering will not be difficult if one under- 
stands the correct way of ironing. Do not press the lower 
part of the skirt out flat, but lay each plait as it is pressed 
at the stitched upper portion in position ail the way to the 
bottom of the skirt and press it down. Afterward the iron 
may be run under the plait to smooth the part underneath. 

When a plaited skirt is made of heavy material or is 
lapped vey much at the waist line in fitting, it may be made 
less bunglesome by cutting away the surplus material after 
the plaits are stitched. The underlapping goods is cut 
away to within an inch of the stitching, then across Ihe 
top of each plait. The raw edges left are to be bound with 
a bias strip of lining. 

SHIRRED SKIRTS. 

There are several ways in which skirts may be shirred ; 
some are shirred all around at the top, while others are 
shirred on the sides and in the back, leaving the front gore 
plain; some have just a few rows of shirring, while others 
are shirred to a depth of five or six inches ; some have every 
other gore shirred and the others plain. 

Use the seven-gore skirt draft and pin the gores to- 
gether from the H dots to the K dots, allowing the tops 
and bottoms of each gore to lie as they will ; the tops will 
lie open and the bottoms will overlap. Cut the goods about 
one and one-half times larger than the pattern. Lay the 
pattern on the goods so that the front will be on a straight 

105 



fold and, holding the goods with the left hand at the top 
and the right hand at the bottom, draw the goods up under 
the pattern in very small, straight folds until you have one 
and one-half times its width drawn under, keeping the same 
amount folded in at the top as at the bottom. After this 
is done, cut to outline the waist line of the pattern at the 
top. Cut it extra long at the bottom, as shirring takes up 
some in length. You may have to seam the goods before 
laying the pattern on; if so, seam the straight edges to- 
gether. 

Another way to make the shirred skirt is to cut the 
widths of the goods perfectly straight and use enough of 
them to make the skirt plenty full ; or, all the gores may be 
used by making each gore half as wide again as it is in a 
plain skirt, and then seam them up. 

Now, the lines for the shirring must be marked. Use 
a piece of cardboard cut the length you wish the first row 
of shirring to be from the top and measure along every 
two or three inches from the top and mark with crayon or 
tailors' chalk. Mark off the next rows in the same manner, 
using a cardboard cut the length you wish to make the rows 
apart. Mark all the rows before beginning to shir. Use 
either a straight running thread with which to shir, or a 
small tuck may be made on the right side and a cord run 
in the tuck to draw it up on. If you use the tucked shir- 
ring, allow extra length for it. 

Shirrings may be placed equal distances apart or in 
groups. If every other gore is shirred, cut the gores to be 
shirred half as wide again and leave the others plain. 

If you want to cut a yoke for a skirt, take the gores 
and pin them together from the tops to dots H, lapping 
them so the seams are taken out. Use only enough of the 
back gore to make the waist and hip measures the same 
as the original measures, and then fit as you would a skirt. 



1 06 



CHAPTER 15. 

Tailor-Made suits. Shrinking and sponging goods. 
Cutting twills and woolens. Cutting coat. Length of coat. 
Basting canvas and goods. Clipping and pressing seams. 
Lining for coat. The collar, cuffs, and sleeves and how 
to arrange them. The skirt. Seams. Placket. Lining. 
Stitching. Finishing. The peplum. How to cut and make 
a peplum. Trimming, etc. Nap on velvet. 

TAILOR-MADE SUITS. 

Until recent years it was considered impractical for 
the home dressmaker to attempt the making of a tailor- 
made suit or gown, but now with increased facilities and 
reliable information, the amateur can produce some very 
creditable results. By observing every detail, however 
small, and following the rules carefully to the very letter, 
she will accomplish results which will be both pleasing to 
herself and friends. 

The work is not so much greater in a tailor-made suit 
than in a draped gown, except the basting and fitting, which 
must be accurately done, and with numerous pressings, 
giving each and every part its proper consideration. Much 
depends upon the basting and the size of the stitches. Use 
a very small running stitch so that the seams will not gap 
and the waist will set well down to the form. 

107 



The cloth must always be shrunken and sponged before 
it is cut out. Your dealer will probably do this for you at 
a slight extra cost per yard. However, in case you have 
it to do yourself, the following method may be employed 
when shrinking heavy goods: Use a piece of unbleached 
muslin about one yard lonsrer than the cloth; also use a 
board from eight to ten inches wide and a little longer than 
the cloth is wide. Dip the muslin in water until it is thor- 
oughly wet and then wring as dry as possible, and spread 
it out on a large table, smoothing out all the wrinkles. Lay 
the cloth on the wet muslin, first tearing the selvage off 
and, if double-width goods, leave it folded through the 
center lengthwise so the right sides will face each other. 
Adjust the muslin at the ends of the board so that when 
rolling the cloth on the board, the cloth will not touch itself. 
Roll up smoothly on the board, watching closely to keep out 
wrinkles, and leave it rolled from two to four hours. Un- 
roll and spread it out on a table or some smooth surface 
to thoroughly dry. You do not have to use the hot iron in 
this method, which makes it more preferable than any other 
way, although it requires a little more time and care. 

If you prefer to use the iron, follow this method : Use 
a large, long table that will not be injured by water, and 
a piece of unbleached muslin about a yard wide and two 
yards long. Place a large ironing blanket upon the table, 
being careful to smooth out all the wrinkles. Lay one end 
of the goods, if single width, right side down upon the 
blanket, and dip the muslin in water and then wring as 
dry as possible and place over the cloth. Run the iron 
over this several times, then remove the muslin and press 
the goods until almost dry. Shrink only a small portion 
at a time, moving the material until the full length has 
been sponged and pressed. Wet the muslin each time you 
put it on the material. Leave double-width goods folded 
with the right sides turned in, and if it is very heavy and 
the steaming process does not go through the second fold, 
repeat the process on the other side after finishing one 
side. 

For colored fabrics that may spot or fade when wet, 
put a handful of salt, or enough vinegar slightly acid to 

io8 



the taste into the water. When pressing the thinner mate- 
rials, be careful not to draw or stretch either side, but 
keep the threads straight in both the length and the width. 
Canvas or haircloth used for interlining must always be 
shrunk before using it. 

CUTTING TWILLS AND WOOLENS. 

When cutting all woolen materials having a smooth, 
close nap or pile, the nap must run toward the bottom of 
the garment. Also when cutting waists and skirts on the 
bias of the goods, the lines and directions must be arranged 
so that the proper results will follow. In twills and dia- 
gonals, a far better effect is produced if the twills in all 
the pieces run in one direction. When making velvet or 
plush garments, the nap or pile should run upwards, as its 
tendency is to fall outward, thus bringing out its beauty 
and depth of color. If it runs downward, it is more apt 
to flatten so that its richness and color is less effective. 

The tailor-made suit or gown usually has all its seams 
visible on the outside, although they are pressed so flat that 
the outside surface is perfectly smooth. Take the measures 
the same as given in the first lessons and draft the pattern 
accordingly, then lay it on the material and pin and cut, 
allowing good, big seams, especially at the front center line 
where the closing part will come. In heavy goods you will 
have to outline the pattern with tailor's chalk, as the 
tracings will not show; then, after removing the pattern, 
run basting threads through all the marks. Draft the back 
with the curved forms and the front with the darts. Pin 
the different parts together, beginning at the waist line 
and pin up, and from the waist line down, then baste. 

Try the waist on and observe that the waist line sets 
well down into the curve of the figure before making a 
single alteration. Pin the fronts together carefully and if 
it seems to fit too snug across the bust, a slight curve may 
be allowed beyond the center front line, thus producing the 
swell front effect; but if it is much too tight, make the 
alterations at the under arm seams. If the arm hole is 
too tight, clip the edge all around the front to the depth 

109 



of three-eighths of an inch, and if too high under the arm, 
clip there also. Mark the pieces that need padding. 

Remove the waist and rebaste, making both sides ex- 
actly alike, unless one side of the figure is larger than the 
other, in which case both sides must be fitted. After all 
the necessary alterations have been made, stitch the seams 
just outside the bastings; this will allow plenty of room for 
boning and prevents the waist from being too tight after 
it is boned. Draw out all the bastings and open all the 
seams and clip the edges and press very flat. Apply the 
featherbone as given in the previous lesson. A fitted canvas 
or haircloth may be placed over the fullest part of the 
bust, as this assures a good shaping to the front of the 
waist. Cut the lining, which is usually silk, and join the 
parts together as given in Lesson 3; apply to waist by 
placing corresponding seams together and tack occasionally. 
Hem down the front and round the bottom close to the 
edge. If the edges of the front are to be stitched or 
trimmed, they must be done before the lining is ,.ut in. 
If the bottom edge is ornamented with stitching, this must 
be done and pressed before the bones are put in. 

For the invisible closing at the front, insert a strip of 
crinoline before stitching and then press it ; ainx the hooks 
and eyes, after which the lining is hemmed down over *"hem. 
The bottom of the coat may also be finished with a peplum. 
1 his peplum may also be lined with silk. Cut the lining the 
same as the outside material and do not use any inter- 
lining. It is cut separately from the waist and seamed on. 

Long coats are cut in much the same manner as short 
coats. If the skirt part is cut separately and afterwards 
joined to the coat at the waist line, the making is not so 
difficult. The skirt portion may or may not be lined. If 
not lined, the seams must be bound. Long coats in which 
the skirt part is cut in the same piece with the waist are 
more difficult to make. Instructions for these can be taken 
from the instructions given for cutting a princess. 

Linen canvas makes the best interlining for a standing 
collar. Shrink the canvas first, then cut a double strip bias, 
the same shape as the collar and stitch it closely with the 

no 



machine back and forth to stiffen it. Cut the material a 
good seam larger on all the sides and baste on to the canvas. 
Turn over the edge of the material and baste, clipping the 
upper curve portion where necessary to make it set down 
smoothly. Add the hooks and eyes and then face with silk. 

Where the entire collar and lapels are applied, they are 
made and put on in the following manner: Cut them the 
desired shape and interline with canvas and press well. 
Turn over the edge of the material and then apply the 
machine stitching, which must match the stitching on the 
waist. Line both the collar and lapels with silk; without 
catching in the lining, join the collar to the neck of the 
coat, turn the seam up on the collar and cat-stitch or over- 
hand it down neatly. Turn in the remaining or lower edge 
of the collar lining and hem. This should be done with 
extreme neatness, as the roll of the collar must be pre- 
served and the lining must not be full, and at the same 
time it must not be drawn tight, else the outside will not 
look well. 

Coats made without collars and having a fancy facing 
upon the outside around the neck and down the fronts are 
very popular and are less difficult to make. This fancy 
facing must be cut just the same shape at the neck and 
down the edge of the front as the coat. The other edge 
may be cut any shape desired. 

The sleeves of a tailor-made garment are usually made 
plain. The lining is made separately and the two are put 
together at the top and bottom. If the cuffs are used, make 
them according to instructions already given in a previous 
lesson. Be sure to do the stitching or trimming of braid, 
etc., before you line them. Nothing must show through 
after the lining is put on unless it is the buttonholes. In 
turning over curved edges, always clip them so they will 
lie smooth. Do not neglect the pressing. Stitch the sleeves 
in the armholes, leaving the lining out to fell down over the 
seam. 

THE SKIRT. 

The skirt may be made unlined if the material is very 
heavy. If lined, cut the lining the same as the outside, 

III 



but seam it separately and press each, then put together 
with the corresponding seams facing each other. Sew the 
two together in the waistband and tack the seams together 
lightly, letting the bottom of the lining extend under the 
facing. 

If the skirt is unlined, a silk foundation skirt is used. 
When making an unlined skirt and you want the seams 
stitched overlapped, baste the seams with one edge wider 
than the other. Fit it before stitching or finishing the 
seams. Cover the widest edge with ribbon binding or with 
strips of bias silk, then stitch. Press so that the narrow 
edge will be covered by the wider one, then baste each 
seam down to the skirt and stitch down from the outside. 
Face the bottom with a narrow facing, interlining with 
crinoline or light weight canvas. The bottom may be fin- 
ished with several rows of stitching or left plain. 

Finish the placket by one of the methods already given, 
or you may use a continuous facing, which is made by 
cutting the facing as long again as the placket opening and 
about two or two and one-half inches wide; then stitch it 
straight around the placket. Face the right side down as 
a faced hem and interline the other and leave it out as a fly. 
A placket opening finished after this method will never tear 
down when putting the skirt on. 

THE PEPLUM. 

To cut a peplum arrange the gores of a seven-gore 
skirt as given for cutting a skirt-yoke pattern or a circular 
skirt, and follow the waist line when cutting. Cut any 
width desired. They are generally left open in the back, 
and some have the inverted plait the same as the skirt. 
They may be lined or unlined. If unlined, finish around 
the edge with a narrow silk facing. Peplums are usually 
attached to the coat by means of a belt which is stitched 
solidly to the coat. Use the stitching silks which are made 
for stitching purposes, as the ordinary sewing silk is too 
fine and sinks into the goods. 

(The subject of tailoring will be continued in Lesson 
16.) 

112 



CHAPTER 16. 

Cutting cloaks. Measurements. Tight-fitting jackets. 
Cutting with one dart in front. Lining. Finishing seams. 
Cutting sleeves. Drafting a front with seam running to the 
shoulder. Cutting same. More than three seams in the 
back. Sack coats. Box coats. Finishing unlined coats. 
How to use canvas. 

COATS, JACKETS AND CLOAKS. 

The first important item in the making of either of 
these garments is to have the cloth properly shrunken, and 
instructions for this have been given in the preceding les- 
ion. Tight-fitting coats that closely outline the figure re- 
quire much more care and attention in the making than a 
fancy coat, though the latter may appear far more elaborate 
when finished. The measures should be taken a little looser 
over the bust, and a little longer on the shoulder than for 
a dress. 

After drafting the pattern, lay the pieces all out on the 
goods, being careful to place them so they will all run the 
same way of the goods, having the nap run down ; pin them 
in a number of places to the cloth. Be very particular to 
have each piece of the pattern on the right grain of the 
goods; otherwise the coat will twist and draw and no 
amount of basting and fitting will straighten it. Outline 

113 



each piece with tailor's chalk and allow for large seams. If 
the cloth is double-width, you may be able to cut all the 
pieces economically with the cloth folded lengthwise through 
the center, as it is folded when purchased. 

If single-width, lay the goods out smoothly with the 
wrong side up and after outlining all the pieces of the pat- 
tern, cut off the length of the cloth containing them. Take 
the remainder of the cloth and reverse it and lay it out with 
the right side up and place over it the piece on which the 
outlines are marked, with the right side of the latter facing 
the right side of the lower cloth, and be extremely careful 
that the nap of each runs the same way. The chalk out- 
lines are now on top. Pin the two widths together smoothly 
and cut through both thicknesses. 

To draft a pattern with one dart in front, omit the first 
dart and take one-half of its width off the front edge of 
the front by drawing Line 1 from dot F to touch the waist 
line three-fourths of an inch further in, and take the other 
half of the dart's width off the back edge of the front by 
drawing Line 5 from dot G to touch the waist line three- 
fourths of an inch further in. Place the top of the second 
dart on Line 6 about three and one-half inches from Line 
1 and use one-fourth of the difference between the bust and 
waist measures for its width. Let the center of this dart 
on Line 8 be at a point straight down from the top of the 
dart. 

Cut the front of the coat from tailor's canvas which 
has been thoroughly shrunken. When cutting a coat with 
the front in one piece, cut the canvas the same shape of 
the front along Lines 1 and 3 and in the neck and arm 
hole; cut it to follow Line 5 about three inches, then slope 
across from this point to the waist line at the bottom of the 
dart or Line 12, and continue straight on down to the lower 
edge. This leaves no canvas at the side waist line where 
it would break and cause the coat to wrinkle. Baste the 
canvas to the wrong side of the cloth, then baste all the 
coat seams together and then fit. 

When a coat is made with a seam or seams running 
to the shoulder, the canvas must also be cut in pieces and 
joined together. To draft a pattern with two seams run- 

114. 



ning to the shoulder in front, use the two darts and divide 
the shoulder into three equal parts and draw a line from 
the top of the first dart to the first division in the shoulder, 
and a line from the top of the second dart to the second 
division in the shoulder. Or you may draw a line from 
the top of the first dart to dot M and a line from the top 
of the second dart to the center of the shoulder. If only one 
seam is wanted to run to the shoulder, use one dart in the 
front and draw a line from the top of this dart to the 
center of the shoulder. 

If more than three divisions are made in the back they 
must be made equal in width at the waist line; two lines 
may be drawn to the shoulder dividing it into three equal 
parts, and one to the armhole dividing it into two equal 
parts; or, one line may be drawn from the center of back 
to dot and a second line to the center of shoulder, and a 
third to the armhole. This will divide the whole back into 
eight pieces or the half back into four pieces. The front 
and back allow for all seams on each edge of every piece, 
and have the pieces equal width at the waist line. 

After fitting, make all the necessary changes, if any, 
and stitch the seams. Stitch the dart in the canvas separate 
from the dart in the cloth, and clip the seams on all the 
canvas and press well. If the seams are to have straps 
stitched over them or if they are to be stitched with one or 
more rows of stitching each side of the seam, or as lapped 
seams, press well and then stitch before the lining is put in. 

Now fasten the canvas down to the cloth with 
several more rows of basting. You can scarcely do too 
much basting or pressing in a tailor-made garment. In 
fact, that is one of the main secrets of a well-made tailored 
suit. To prevent the coat from wrinkling and breaking 
over the bust, take a piece of haircloth and shrink it and 
cut to follow the shape of the front, around the neck, shoul- 
der and armhole, but a few inches smaller, and finish it 
in a point about three inches above the waist line. Do not 
make a dart in it, but cut out a V-shaped piece to make it 
fit, and draw the cut edges together. Baste a strip of cam- 
bric over this seam and all around the edge of the hair- 
cloth to hold it to the canvas and also to cover its raw 

115 



edges. Attach the haircloth to the canvas by means of the 
padding stitch and hem it to the canvas at the bound edges. 
A padding stitch is made by many small stitches about one- 
half inch long on the canvas side which just barely catch, 
but do not show through on the right side of the cloth. 

Cut to shape, a piece of canvas about three inches wide 
and baste it around the neck at the back ; also similar pieces 
around the armholes of the back and under arm seams to 
meet the canvas in front. This holds the coat in better 
position and improves the stitching. 

Cut the collar the desired shape. Interline with canvas, 
having the canvas a seam's width smaller than the cloth. 
Fasten the canvas firmly to the cloth by employing many 
padding stitches. When doing this on the collar and lapels 
or revers, roll and shape them as the stitches are being made, 
in the direction in which they are to lie. Turn the edges of 
the cloth over the canvas and baste and then press. If the 
collar is a rolled turn-over colar, baste it in the neck so it 
will lie flat on the coat, with the canvas side up. The upper 
or turn-over part of the collar must lie flat and must join 
the turned-over lapel at the tops of the fronts, to form the 
notched collar. The lapels or revers may be allowed on the 
fronts when cutting and then turned and pressed back into 
position, or they may be cut separately and then seamed 
on. The former is more practical and far more easily 
done. 

Try the coat on. Fold over the lapel corners at the 
top and see that the collar is the right size and sets properly. 
The front edges of the coat should lie close to the figure at 
the bust, and a well-fitted coat will hold itself in shape at 
this point even when unbuttoned. Now cut the facings 
from the cloth for the collar and fronts. The front facings 
must be cut to the shaping of the fronts after the edges 
have been altered. To do this, lay the cloth on the fronts 
and over the turned lapel corners and pin it carefully in 
place. Be sure to keep the front and lapel in their proper 
shape. Cut the required length and width; it should be 
about three inches wide. If the collar facing is of cloth, 
cut it on the width or cross grain of the goods with no seam 
in the back. Fit it to the canvas collar and join it to the 

ii6 



front facings; press the seams open and then baste to the 
canvas collar and fronts, turning in the edges of both fac- 
ing and coat. This makes a visible closing and the button- 
holes are to be worked through both thicknesses. 

If any padding is required, use a few layers of sheet 
wadding, decreasing in size until the edges are very thin; 
baste around the armhole from front shoulder to back 
shoulder, having more under the arms, making it thick or 
thin where the figure requires it. 

If an interlining is to be used to give more warmth, 
it should be put in before the front facing is put on. Cotton 
flannel may be used for this, though there is a soft, all-wool 
material that comes especially for this purpose, which is 
more preferable. Do not cut the interlining in pieces like 
the silk lining or the outside, but fit it across the back in one 
piece. Cut it in places, where necessary, to make it fit, and 
then tack the cut edges together. Fit the fronts in the 
same way; do not make seams, but clip it along the edges 
to make it lie smooth and overlap the cut places. Turn up 
the bottom of the coat all around. It is now ready for the 
lining. 

Line the coat either with silk or satin. Silk substitutes 
may be used where it is an absolute necessity for economy. 
Have the lining match the shade of the cloth. A white lin- 
ing is very pretty and attractive, though not so serviceable. 
Remember, all the stitching and finishing of seams must be 
done before the lining is put in. 

Cut the lining from the same pattern as the cloth, 
making any alterations that were made when fitting the 
coat. Lay a fold about two inches wide down the center 
back in the lining, and baste it. Then when the coat is 
finished remove the basting. This is to give freedom when 
raising the arms. All ready made suits and coats have this 
fold. Stitch the seams together and then fasten it to the 
coat at all the edges, placing the corresponding seams to- 
gether and facing each other. The lining of the sleeves 
is cut like the outside and the seams are stitched and 
pressed and then attached to the sleeve at the top and bot- 
tom; baste it through the cloth of the sleeve about five or 

117 



six inches from the top. Use a piece of wadding about two 
inches wide and fifteen inches long, curve one side of it and 
plait it up in three-fourths inch plaits. Baste this into the 
top of the armhole after the cloth part of the sleeve is 
basted in, to hold up the top of the cleeve ; then turn in the 
edge of the lining and hem it down all around the armhole 
so as to cover the seam and stitches. 

If the coat is to be unlined, each seam must be bound 
separately with a soft bias silk; the armhole seam, however, 
is bound as one seam. A facing of silk is applied to each 
front, and the bottom of the coat is turned up and a narrow 
facing of bias silk is stitched on to cover the raw edge. 

To cut a sack coat, use no darts in front and cut the 
back with no seams. Slant the under arm seams out from 
the armhole to make it wide enough below the waist line so 
it will not draw over the hips. To make a double-breasted 
coat or jacket, cut the fronts according to instructions 
given, only allow more — say three or four inches on the 
front edges. In fitting this sort of a jacket it is sometimes 
necessary to take up a small dart in the center of the neck 
about one and one-half inches long, to make it fit smoothly 
around the neck. Cloaks and jackets require very hard and 
careful pressing to make them look well, and a very large, 
heavy iron is needed with which to do the pressing. 



ii8 



CHAPTER 17. 
Wrappers. Princesses and Dressing Sacques. Cutting 
a wrapper. Basting and Finishing. Cutting the princess. 
The lining. The front. The first and second side bodies. 
Waist lines. Width at bottom of front and side bodies. 
Center back. Trimming. Dressing sacques. Drafting a 
pattern. Cutting. Fitting. Finishing. 

PRINCESS. 

A very popular gown is the princess, with its long, 
graceful lines, and it is made in various designs. While 
these gowns appear to be very simple, they are somewhat 
difficult to make, as their success depends almost entirely 
on the fitting. There are two styles — the long regulation 
princess, and the corsage skirt. The regulation princess is 
more adapted to slender, well-proportioned figures. 

To cut a lining for the long regulation princess, use the 
same drafts as given in Lessons 1 and 2, only cut them 
about five inches below the waist line. When taking the 
measures for a princess, take the hip measure also, as the 
princess is tight-fitting at the hips, then measure the drafts 
five inches below the waist line to see whether they corre- 
spond to the hip measure taken. Cut the lining according 
to instructions given in Lesson 3, and lay the front on the 
material with its front edge on a straight double fold of 
the goods, and pin securely. Place the waist line of the 

119 



second side form or body of the back on the same thread of 
the goods as the waist line of the front and close enough 
to the front so that Line 22 five inches below the waist line 
will join Line 5 the same distance below the waist line. 
This will form another dart under the arm, the seam of 
which may extend to the bottom of the garment. (See Fig. 
12.) Make the skirt part at this seam as long as the hip 
length skirt measure and then allow two inches more so as 
to be sure that it will be long enough. 

Cut along the neck and shoulder and armhole and down 
between the front and second side body or Lines 5 and 22, 
cutting out the dart there, then cut the armhole in the sec- 
ond side body and down Line 24 to five inches below the 
waist line. Slant the goods out from this point until the 
bottom is about twenty-seven inches wide. If you are cut- 
ting from single width goods and have not room to cut the 
two pieces above the waist line together, you will either 
have to make a hem down the center front and lap it, or 
fold the material through the center lengthwise and let the 
piecing come on a line with the center of the underarm 
dart. The latter is more preferable, as the seam is not used 
now in the front. You may have to take off a narrow strip 
when piecing this way, but the piecing should not come in 
front or up the side body. But if the material is wide 
enough to cut the two pieces above the waist line together, 
then any sized gore may be pieced on the skirt below at 
Line 24. 

To cut the next or first side body, lay the lining on the 
material so that Line 24 of the second side body five inches 
below the waist line will touch the straight edge or selvage 
of the goods. Continue Line 24 on the straight edge until it 
is the same length as Line 24 in the second side body. Slant 
the back edge or Line 23 from the waist line until the side 
body is about twenty-four inches wide at the bottom. (See 
Fig. 13.) 

To cut the center back, lay the lining with the armhole 
on the straight edge or selvage of the goods, and measure 
down from the waist line the length of the back skirt meas- 
ure and allow two inches more. Slant Lines 21 and 23 from 
the waist line until the bottom of the center back is about 

120 



twenty inches wide. (See Fig. 14.) This will make a 
princess nearly four yards in width around the bottom. In 
large hipped figures, cut the fronts a little wider at the 
bottom than twenty-seven inches. 

Baste the lining to the material and the pieces together 
according to instructions already given. Only one dart in 
front may be used and it may extend to the bottom in a 
tiny seam. When piecing on a gore at the side, if you will 
first baste the seams up and try the dress on, you can easily 
tell what size gore to piece on by the space that hangs open 
at the bottom. Finish the bottom with a facing of the ma- 
terial about three inches wide cut on the bias. The seams 
must be boned and the bones must extend over the hips. 
Finish the placket opening with sufficient fastenings to 
avoid any gaping. If the gown is designed for street wear, 
make it the regulation walking length; if for dress occa- 
sions, a moderate sweep gives a pretty effect. 

If you prefer the corsage skirt, which extends only 
about five inches above the waist line, cut the pattern off 
that distance above the waist line, or, just cut the material 
that length. The top is then finished with a facing and an 
interlining of light weight canvas about one and one-half 
inches wide. In fitting a corselet skirt on a figure having 
a small waist and large hips, make the alterations on each 
and every seam, so as to keep each portion of uniform size. 
Allow good, big seams on each edge when cutting a princess, 
to permit of enlarging in case it is too snug. The corselet 
skirt, of course, requires a blouse, which may be made of 
contrasting material such as silk, lace, etc. 

WRAPPERS. 

While a wrapper does not require so much care and 
attention in its fitting and is much easier to make, still there 
is a tendency toward elaboration and dress effect in some 
of them that demands careful treatment as the work ad- 
vances. Usually only the waist is lined, but the lining may 
be left out entirely. 

To cut a wrapper with a plain back and full front, use 
the center back and first side body of the princess to cut the 
back. Arrange the front and second side body as given for 

121 



the front of the princess also, and, if you wish a yoke, mark 
on the lining with the tracing wheel the shape it is to be. 
Cut an extension on the front edge about half as wude again 
as it is (see Fig. 15), and allow the material to reach to 
the highest point of the yoke. Trace the waist line of the 
lining on to the material, then when basting the lining and 
material together, place the waist lines together and baste 
them securely. Gather the top of the wrapper front and 
adjust the gathers smoothly and fasten down to the lining. 
Baste the yoke of the material on the lining and turn under 
the lower edge so as to cover the gathers and baste and then 
stitch. Or, the yoke may be basted on first and the wrapper 
cut long enough to permit of a heading, which may be 
turned down and gathered with a couple of rows of gather- 
ings and then stitched over the lower edge of the yoke. 
Baste the darts in the lining only. The back may have a 
yoke also. 

When cutting wrappers from cotton goods, which is 
usually about twenty-seven inches wide, two whole widths 
will be needed for the fronts. If you seam the two widths 
together to bring the seam in the center front it should be 
overlapped to form an inch hem and stitched from the right 
side. If you want to avoid the seam in the center, cut one 
of the widths lengthwise through the center and stitch one 
of these half widths to each side of the whole width. 

A wrapper front may also be cut whole and have no 
yoke. You may tuck the goods to yoke depth, either the 
full width of the yoke or just half. It may be tucked solid 
or in clusters, and the tucks made any width desired. Be- 
fore cutting a wrapper this style, lay the tucks or fullness 
on down straight of the goods to the hips, then arrange the 
front and side body as already given. 

To cut a back with plaits in the center at the waist 
line, lay the lining of the first side body with the armhole 
on the straight edge of the material, then lay the waist line 
of the center back on the same thread that the waist line of 
the side body is on and have Line 23 of the side body and 
Line 23 of the center back join about four inches below 
the waist line. Now cut an extension of twelve inches at 
the waist line of the back and the cut the skirt portion 

122 



from the end of this extension down straight with the 
goods. (See Fig. 16.) 

If you desire plaits also between the side body and 
center back, leave a space of twelve inches at the waist line 
between the two. (See Fig. 17.) This fullness may be 
gathered instead of plaited. Make any style sleeve and 
collar and bertha. A very pretty collar may be made in 
the sailor style for the back and the fronts pointed. This 
may be further trimmed with narrow lace slightly fulled 
in. A pointed bertha makes a very pretty finish, or, if 
the wrapper is made of dimity, foulard or silk, wide lace 
may be fulled in around the yoke. Either hem or face the 
bottom. Trim with ruffles around the bottom if desired. 
Bias bands make a pretty finish; also a wide flounce is 
usually becoming. The opening or placket down the front 
is finished by sewing a straight strip about two inches 
wide clear round the opening. Face the right side down 
to the wrapper as a faced hem and fix the other side and 
leave out for a fly. 

The fastenings in the front are usually invisible by 
being arranged under the hem. The lining fronts are 
fastened separately with hooks and eyes. If you want a 
belt, cut it two inches longer than the waist measure. Cut 
a lining the same size and turn the edges of the belt and 
lining together and stitch. If you prefer the belt to lap in 
front cut it about five or six inches longer than the waist 
measure. 

The old fashioned mother hubbard cut large in the 
yoke with loose armholes is a very comfortable dress for 
morning wear and makes a very desirable lounging robe 
for an invalid. 

DRESSING SACQUES. 

Use the same drafts as given in Lessons 1 and 2 and 
mark on the draft the depth of the yoke, then if you care 
to, you may cut the yoke part off at these marks, and use 
this for the yoke pattern. Cut the skirt portion twice the 
width of the yoke, both front and back. They may be cut 
any length desired. If it is to be fastened down at the 
waist line it should be cut a little longer than if left to hang 

123 



loose. If fastened to the yoke with a heading, allow extra 
for this when cutting. Cut a small gore off of each front 
section on the under arm seam, making the top two inches 
narrower than the bottom. When fastening the front por- 
tion to the yoke, let the skirt portion extend out about three 
inches at the armhole and the back skirt portion about one 
inch. This is to form the balance of the armhole which 
must be shaped by that part of the pattern which was cut 
off from the yoke at first. 

The fullness of the skirt portion may be either gath- 
ered or plaited and stitched on to the yoke. A dressing 
sacque may be cut without a yoke and the fullness both in 
front and back arranged from the neck and shoulders by 
tucking or plaiting the material before cutting. Lay the 
tucks or plaits on down to the bottom of the garment before 
the pattern is laid on, then when stitching, stitch the depth 
desired. This will keep the sacque from drawing across 
the bust. Any style sleeve and collar may be worn. A 
pretty effect is obtained by putting a ruffle of the ma- 
terial or lace or embroidery around the yoke. 

If you prefer to finish the dressing sacque off in kimono 
style, cut the neck out in front from the shoulder to a 
point three or four inches down from the center of the 
neck. Then baste on a bias or a straight strip about six 
or seven inches wide. Begin at the bottom, place the right 
side of the strip on the wrong side of the kimono and baste 
up the front, round the neck and down the other front. 
Turn this over and turn in the edge and baste it down so 
as to cover the seam just made and then stitch. The one 
stitching is sufficient to catch both edges. When worn this 
strip is turned down round the neck and as far down as 
desired where the fronts are overlapped. Use the flowing 
sleeve and leave it loose at the bottom. Face them on the 
right side with a two-inch band the same color as the strip 
round the neck and down the fronts, which may be of con- 
trasting color. 

MATCHING FIGURES AND PLAIDS. 

The effort to match figured, checked, striped or plaited 
material in cutting and fitting is sometimes a very difficult 
matter and some very unsatisfactory results are often ob- 

124. 




£2 

CD 




o 



o 



J 






tained; yet it is a very simple and easy matter if a few 
points are borne well in mind. Select one position for the 
figures or flowers, and in the latter, the stems usually run 
downward. When cutting a garment where several widths 
must be joined as in a circular or shirred skirt, it is of the 
utmost importance that the pattern or figures on the ma- 
terial should be matched, and oftentimes this cannot be 
done when the widths are simply joined at the selvages. It 
will sometimes be necessary to lap the second width some 
little way over the first in order to find the corresponding 
figures. When this is done turn in the edge of the second 
width and pin it to the front or first width. Proceed in the 
same manner to join the other widths for both sides of the 
skirt. Slip-stitch the widths together from the outside. 
This is done by slipping the needle along inside the turned- 
in edge of the applied width, and then taking a stitch in the 
under width. When the skirt is turned wrong side out, 
the slip-stitching will be found to form the basting of the 
seam. 

When purchasing plaids, an extra quantity will always 
be required beyond that needed for a plain material gown 
of the same design. When cutting be sure to keep the waist 
line of each piece on the same line or section of the plaid. 
If a seamed waist, the plaids must be matched both ways. 
Cut the fronts first in the usual way. Place Line 21 of the 
back in the center of a plaid, leaving Line 17 on the same 
section of a plaid as Line 8 in front. To cut the first side 
body, place dot Y on the same section of the plaid as it 
came on in the center back. To cut the second side body 
place dot Z on the same section of the plaid as it came on 
in the first side body. This will give a back with an un- 
broken plaid after it is seamed. The plaids may not match 
when sewing Lines 5 and 22 together, but it will show least 
under the arms. 



125 



CHAPTER 18. 
Infants' and Little Girls' Dresses. Little Boys' Cloth- 
ing. Drafting patterns for an infant's first outfit. Dresses. 
Slips. Skirts, Wraps, etc. Little Wraps. Drawers. Night- 
gown. Waist. Sleeve. Collar. Little Boys' Clothing. 
Sailor waist. Blouse waist. Buster Brown suits. Pants. 
Collar and band. 

INFANTS' FIRST OUTFIT. 

There is not so much opportunity for changes in the 
cutting and making of infants' garments, still from time 
to time there are improvements tried, with a view to mak- 
ing the process of dressing an infant a less wearisome oper- 
ation and to give greater comfort to the child. The beauty 
of these little garments is the extreme neatness with which 
they are made. 

To draft a pattern of a slip, draw a straight line thirty- 
six inches long lengthwise on a piece of paper and mark it 
Line 1. Make a dot on this line two inches from the top 
and mark it dot N (Neck). Also make another dot on this 
line three and three-fourths inches from the top and mark 
it dot A. From the top of Line 1 draw a line straight out 
to the right four and one-half inches long and mark it Line 
2. Make a dot one-half of an inch below the right end of 
Line 2 and mark it dot S. Make dot M one and three- 
fourths inches from the left end of Line 2. Connect dots 

126 



M and S with a line and mark it Line 3. From dot A 
measure straight out to the right and draw a line five and 
one-half inches long and mark it Line 4. From the bottom 
of Line 1 measure straight out to the right and draw a line 
sixteen inches long and mark it Line 5. Connect the right 
ends of Lines 4 and 5 with a line and mark it Line 6. Meas- 
ure from dot S straight down to Line 4 and make a dot at 
the midway point. Make another dot one-fourth of an inch 
to the left of this dot and draw a curve from dot S to the 
last dot and curve on down to the right end of Line 4. This 
forms the armhole curve in the front. (See Fig. 18.) 

To draft the back, draw a straight line thirty-six inches 
long lengthwise of the paper and mark it Line 7. Make a 
dot on Line 7 one-fourth of an inch from the top and mark 
it dot B; also make another dot three and three-fourths 
inches from the top and mark it dot C. From the top of 
Line 7 measure straight out to the right and draw a line 
four and one-half inches long and mark it Line 8. Make a 
dot one-half of an inch below the right end of Line 8 and 
mark it dot E. Draw a line from D to E and mark it Line 
9. From dot C measure straight out to the right and draw 
a line five and one-half inches long and mark it Line 10. 
From the lower end of Line 7 measure straight out to the 
right and draw a line sixteen inches long and mark it Line 
11. Connect the right ends of Lines 10 and 11 with a line 
and mark it Line 12. Draw a curve from dot E to the right 
end of Line 10 for the armhole curve. (See Fig. 19.) 

To draft a sleeve, draw a straight line across the top 
of the paper ten inches long, mark it Line 13. From the 
left end of this line measure straight down and draw a line 
eight inches long and mark it Line 14. From the lower 
end of Line 14 draw a line straight out to the right and 
make it the same length as Line 13, and m.ark it Line 15. 
Connect the right ends of Lines 13 and 15 with a line and 
mark it Line 16. Divide Line 13 into four equal parts by 
making dots F at the two and one-half inch mark and dot 
G at the five-inch mark and dot H at the seven and one-half 
inch mark. (See Fig. 20.) Now, measure down on Line 
14 and make a dot two and one-half inches from the top 
and mark it dot I; also measure down one and one-half 
inches from dot H and make dot J; also measure down on 

127 



Line 16 and make a dot two inches from the top and mark 
it dot K. To outline the top part of the sleeve begin at dot 
I and draw a slight outward curve at dot F; follow Line 
13 to dot G, then curve down to dot J and on to dot K, mak- 
ing an under arm curve from J to K. Draw a slight in- 
ward curve from I to the end of Line 14; also an inward 
curve from K to the end of Line 16. Draw an outward 
curve from the lower end of Line 14 to the lower end of 
Line 16. (See Fig. 20.) 

To cut the slip, lay the front draft on a double fold of 
the goods and the back draft on the selvage edges. Allow 
for the hems on the back. One-fourth-inch seams and a 
two-inch hem for the bottom are allowed on the draft. If 
you want to make the slip with a yoke, cut the tops of the 
drafts off one-half inch below Lines 4 and 10. The yoke 
may be made of all-over lace or embroidery, or of tucks 
and insertion. 

To cut a slip with fullness at the neck, lay the front 
and back drafts with their straight edges on a double fold 
of the goods, though back from the fold about three inches. 
When cutting extend the neck curves to the fold. This full- 
ness may then be gathered and fitted to a band at the neck 
or a draw string may be run in and the fullness drawn to 
fit any sized neck. When cutting this style of slip from 
material thirty-six inches wide, let the bottom of the slip 
be the width of the material and then gradually slope to 
the armhole. 

When a yoke is used, use two full widths of goods 
thirty-six inches wide and cut them thirty-four inches long 
for the skirt portion. These widths may be left straight on 
each edge or a small gore may be cut off of each edge at the 
top, making the top of each width about thirty inches wide 
instead of thirty-six. 

To cut a band or waist for a petticoat, cut off the tops 
of the front and back drafts about three inches below the 
armhole and make Lines 6 and 12 straight instead of slant- 
ing. Before cutting, pin Lines 6 and 12 together and lay 
the pattern with its front edge on a double fold of the 
goods. Hollow out the neck and armholes a little more 
than for a slip. For the skirt portion use two widths of 
thirty-six inch goods. Flannel skirts are made in the same 

128 



way, the band always being made of muslin. The trim- 
ming of flannel skirts consists of embroidery or fancy 
stitches. Open the seams in flannel and cross-stitch them 
down, and fell or overhand seams in muslin, or use the 
French seam. Do not leave any raw seams. When putting 
skirts on waists, face them on. Always finish the placket 
opening neatly. 

Finish the slips with a ruffle of embroidery around 
the yoke, or they may be left perfectly plain. The skirt 
portion may also be trimmed in tucks and insertion or left 
plain. Finish the sleeves in any dainty way you desire. 
Use the same drafts for making the gowns, only cut them 
a little larger and do not use the yoke, but leave the fronts 
in one piece, also the back. If at all possible, purchase the 
shirts and bands ready-made. 

A coat may also be made by the slip pattern, by allow 
ing more for seams and cutting the sleeves larger. Cut to 
open in front by placing Line 1 on the selvedge of the 
goods, and place Line 7 in the back on a double fold. A 
simple little cape may be made by using an eighteen-inch 
square of fine flannel or any soft woollen goods. Cut a 
circle out of the center for the neck. Fold the piece through 
the center diagonally and cut from the neck to one corner 
to form the opening for the front. Scallop all around the 
edge with the buttonhole stitch. A cape made after this 
style makes an appropriate cape for the coat also. 

LITTLE GIRLS' DRESSES. 

Take the measurements of children a little looser than 
for adults, especially the bust and waist measures. Draft 
the pattern the same as given in Lessons 1 and 2, omitting 
the darts and side forms. The bust and waist measures 
are so near the same in children that the difl'erence is taken 
out in the under arm seams. If the waist measure is larger, 
as is sometimes the case, add one-half of the excess to each 
side of the front. Make a dot out to the right of dot E 
this distance and draw Line 5 from dot D to this new dot. 
Draw the armhole curve one-half of an inch above the bust 
line, as children do not need as deep a curve at the armhole. 

Sometimes a small dart is used for children over eleven 
years of age in the front lining. Place the dart midway 

129 



between Lines 1 and 5, extending the top to within one and 
one-half inches of Line 4. Do not use so much of a drop 
for the shoulder slant for very small children — about one- 
half of an inch less. If shoulder is three inches long, make 
the drop about one inch, from three to five inches the drop 
should be about one and one-fourth inches, and from five 
to seven about one and one-half inches. 

When drawing Line 18 in the back raise it the same 
amount that you take off of the shoulder drop in front. 
Thus, if you lowered dot S only one and one-fourth inches 
instead of one and one-half inches, raise Line 18 one-fourth 
of an inch higher than given in Lesson 2. Extend the left 
end of Line 17 out one inch and re-draw Line 21 from dot 
K to the end of the line; also extend the right end of Line 
17 one inch and re-draw Line 22 from dot R to the end of 
the line. Test the waist measure and if too small make 
Lines 8 and 17 a little longer; if too large, make them 
shorter. 

The sleeve measures are taken the same and sleeve 
drafted as for adults. The skirt measures are also taken 
the same, but dots K are omitted and the gores are slanted 
from dots H to the bottom. 

The materials which are used so much for children's 
wear, such as linen, duck, madras and cheviot, should be 
shrunken before being made. If not shrunken, an allow- 
ance will have to be made on all the pieces, and this does 
not always give satisfactory results. One inch to the yard 
is the estimate shrinkage for these goods. The following 
method may be used which does not require pressing: 
Roll the folded goods smoothly in a cloth and cover with 
water and leave it over night. Remove in the morning and 
hang up to dry without wringing. It will take it some 
time to dry out thoroughly, but it will not need pressing 
until after the garment is made, then it is dampened and 
pressed. It is a good idea to put a tuck under the hem, or 
the bottom of the skirt may be ornamented with several 
tucks, then as the dress shortens a tuck may be taken out. 

No better selection can be made for a little tot than 
the Bishop style, since the long unbroken lines give appar- 
ent height to the child and is much more becoming than 
those which are belted or seamed on at the waist. The 

130 



little plain mother hubbards make good every day dresses, 
as they are easier laundered. For girls from four to six 
years of age the French dress is very suitable. The skirt 
is seamed on to the waist, with the waist blousing over the 
skirt a little below the waist line. The skirt and waist both 
may be cut with either plaited or gathered fullness. The 
Buster Brown dress may be and is worn by choldren of all 
ages. The suspender dress is a very useful garment, as it 
can be worn with separate waists, and it is a very con- 
venient way to remodel old dresses. 

All the varieties of dresses for children can be made 
by using as a basis the drafts which have already been 
given. While there are many and great variations from 
this original draft, still with the knowledge and experience 
you have acquired thus far you will have little difficulty in 
adapting it to all changes, if you but exercise a little origin- 
ality mixed with a moderate degree of ingenuity and com- 
mon sense. 

For instance, in cutting a blouse place the back of the 
draft with Line 21 on a double fold of the goods and cut 
round the neck and armhole, also the shoulder. Cut the 
blouse five inches longer than the back measure. Then 
slope the goods out from the armhole to the bottom, making 
it three inches wider than the width of back measure. This 
will make the whole back six inches wider at the bottom. 
Now place the straight edge or Line 1 of the front on the 
selvage edge of the goods and cut along the neck, shoulder 
and armhole. Cut the front six inches longer than the front 
measure and make each half front four inches wider at the 
bottom than one-half of the chest measure. Cut out a V- 
shaped point in front at neck and finish with a sailor collar. 

Do all tucking or plaiting before cutting out. There 
are many different varieties of aprons, which may be made 
of white linen lawn, crossbar nainsook, plain and checked 
ginghams, etc. All of these can be made from this same 
draft. The yoke aprons may be cut by using the tops of 
the front and back drafts to an inch below the armhole. 
The skirt portion is cut plain and gathered on to the yoke. 
For a short yoke cut across a little above the armhole, then 
after the skirt portion is sewed to the yoke, hollow it out 
some under the arms to form the curve of the armhole. 

131 



The suspender style is very pretty and dainty, especially 
when the straps or suspenders are made of insertion. This 
may be varied by putting shoulder ruffles on the straps. 

Instructions for children's underwear are given in the 
next lesson. 

LITTLE BOYS' CLOTHING. 

While the making of boys' suits is not a very difficult 
task, there are a few details of finish that require more or 
less time and attention, chiefly among which are the 
trousers and the putting in of pockets. But if the pockets 
are made and placed in each section of the garment before 
the portions are put together, no serious trouble will be ex- 
perienced. The blouse is so similar to that of girls' that 
the instructions given above applies equally as well to boys'. 

Every small boy should have a play suit, which is gen- 
erally made of khaki in a very simple style. Russian suits 
are also very suitable for small boys since they are so easily 
made. The fullness at the lower edges of the trousers is 
put into a band or drawn up on elastic. The Norfolk suit, 
which consists of a box-plaited jacket and bloomer knicker- 
bocker, is worn by boys up to fourteen years of age. When 
made of serge and finished with several rows of machine 
stitching a very smart tailored finish is obtained. All suits 
made from serge, duck, pique, etc., should be thoroughly 
shrunken before making. Use the same process of shrink- 
ing as given for little girls' clothing. 



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133 



CHAPTER 19. 

Muslin Underwear. Drawers. Drawers band. Un- 
derskirt. Yoke for underskirt. Nightgown. Sleeve for 
gown. Chemise. Corset cover. Seamless Corset cover. 
Combination suit. Stitches. 

MUSLIN UNDERWEAR. 

The making of underwear should be considered quite 
as important as the outside garments, for upon the fit of 
the under garments depends largely the fit of the outer 
ones. A great amount of time may be put in on the mak- 
ing of underwear as the amount of handiwork is unlimited, 
the finish often being made entirely by hand, yet much fine 
and beautiful work may be done on the machine, and it is a 
great time saver. Much care should be exercised to have 
the tension drawn evenly on both the upper and lower 
threads; also to use just the right size needle and thread. 
One should not expect to obtain good results using the same 
needle and number of thread on all materials. No. 80 cot- 
ton is the best for white work except on very fine material, 
when 100 may be used for hems and tucks and all outside 
stitching. Every make of machine is accompanied by a 
table of the size of needles that should be used with the 
different numbers of thread, and it is wise to follow these 
directions. Leave no raw edges on muslin underwear of 
any kind. Either use the French or the felled seam. The 

134 



latter is made by placing the edges together and stitching a 
three-eights of an inch seam; then one seam edge is trim- 
med close to the stitching and the other edge is turned in 
and stitched down over the trimmed edge, making a per- 
fectly flat joining. 

To draft a pair of drawers, draw a straight line 27 
inches long lengthwise on a piece of paper and mark it Line 
1. From the top of Line 1 measure straight out to the 
right and draw Line 2 twenty-two inches long. Draw Line 
3 from the right end of Line 2 parallel with Line 1 and the 
same length as Line 1. Connect the lower ends of Lines 1 
and 3 with a line and mark it Line 4. (See Fig. 21.) 

Measure down three inches from the top of Line 1 and 
make dot A. Measure fourteen inches from the junction 
of Lines 1 and 2 and make dot B on Line 2. Measure down 
eighteen inches from the top of Line 3 and make dot C. 
Make dot D on Line 4 seventeen and one-half inches from 
the junction of Lines 1 and 4. Make dot E three inches 
below dot B. Now draw the curved line 5 from A to B and 
also Line 6 from A to E. Draw straight lines 7 and 8 from 
B to C and from E to C. Draw the curved Line 9 from C 
to D. (See Fig. 21.) 

Now fold a large piece of paper through the center 
and lay the draft with Line 1 on the fold of the paper and 
pin securely. Cut along Lines 5, 7, 9 and 4. Remove the 
draft and unfold the sheet of paper and lay the draft back 
on it, placing Line 1 in the center and cut one side by Lines 
6 and 8. This gives the pattern complete, and makes a 
medium-sized pair of umbrella drawers for a twenty-five 
inch waist measure. If wanted larger or smaller add to or 
take from on the straight edge or Line 1. For more length 
from B and E to C lay a fold in the muslin; for shorter 
length lay a fold in the pattern between dots B and C. For 
more length from C to D lay a fold in the muslin; for 
shorter length lay a fold in the pattern between dots C and 
D. From A to E is the front of drawers and from A to B 
is the back. 

When making drawers use the French seam to join the 
edges of each leg portion and also to join these portions 
together in the seam that extends from the front band to 
the back or Lines 7 and 8. In open drawers this seam is 

135 



not joined, but each portion is faced along this edge with a 
bias strip of the same material. This strip may also be cut 
to fit the portion. Stitch the facing to each leg portion 
or along Lines 7 and 8 from dot E to C and from C up 
to B. Turn in the other edge of the facing and hem it to 
the inside of the garment. 

If the leg portions are to be ornamented with tucks, 
allow for the tucks when cutting and tuck the portions be- 
fore stitching the seams. Hem the bottom, however, after 
the seams are stitched. A gathered ruffle of either the 
material or embroidery makes a pretty finish and should 
be inset in the hem, which is cut through its folded edge 
for this purpose. Sew the ruffle to the lower edge of the 
hem and baste down over the seam and stitch. If no hem 
has been allowed sew the ruffle to the edge of the drawers 
so that the seam will come on the inside and then face it 
on the inside with a strip of the material about one and 
one-half inches wide. Baste one edge of the facing in the 
same seam as the ruffle and stitch. Turn in the other 
edge and stitch down to the drawers. 

When insertion, either of lace or embroidery is used, 
baste it in position with a row of basting on each edge 
and then stitch on each edge also; cut the material under- 
neath through the center and turn each of the edges back 
and crease to hold it flat. Cut away to leave only enough 
for a tiny hem turned back from each row of stitching 
and then stitch. 

To make a band for the drawers, take one-half of the 
length of the waist measure and add one inch to it and 
draw a rectangle whose top and bottom will each be this 
length and whose sides will each be six inches, and number 
these lines 1, 2, 3 and 4. (See Fig. 22.) Make dot A on 
Line 1 one and one-half inches from the junction of Lines 
1 and 4. Make dot B two and one-half inches from the 
top of Line 2 and make dot G at the junction of Lines 2 
and 3. Make dot D three inches from the top of Line 4 
and connect dots A and D, also C and D, with straight lines. 
Draw a slight downward curve from B to A. 

When cutting, place Line 2 from B to C on a straight 
fold of the goods. Two bands should be cut from the draft 
for each pair of drawers. The top of the drawers is gath- 

136 



ered and put into this band. If a wider or narrower band 
is desired, make the rectangle either wider or narrower. 
For closed drawers a placket on the one or both sides will 
have to be cut. Cut it seven or eight inches long and finish 
it by sewing a straight strip of facing the entire length of 
the placket and face one side down as a faced hem and 
leave the other out as a fly. This is done, of course, before 
the band is put on. 

Underskirts are cut much the same as outside skirts, 
and to avoid the bulky fullness at the waist line and over 
the hips, yokes are frequently used. The width of the yoke 
is usually about five inches. To draft a pattern of a yoke, 
take one-third of the waist measure and add the width of 
the yoke to it and make a square whose ends and sides will 
each be this measure and number the lines 1, 2, 3 and 4. 
(See Fig. 23.) Make dot A on Line 1 five inches from the 
junction of Lines 1 and 4 and make dot B at the junction 
of these lines. Make dot C on Line 2 five inches from the 
bottom and make dot D at the junction of Lines 2 and 3. 
Draw deep curves from C to A and from D to B. (See 
Fig. 23.) 

When cutting the material, lay Line 2 from C to D on 
a straight fold of the goods and when making, dot D is 
placed in the center of the top of the skirt. Two yokes 
should be cut for each skirt. Tucks and insertion and ruf- 
fles of lace or embroidery make a good finish. Allow for 
the tucks when cutting. 

The same pattern for a front of a wrapper will apply 
equally as well to cutting the front of a night gowa, ex- 
cept that night gov/ns do not need to be so wide at the 
bottom as a wrapper. The back may be cut by the draft 
given in Lesson 2 by extending Lines 21 and 22 the desired 
length, making the bottom the width of the goods. Cut off 
the top of the back any desired depth to obtain a yoke. 
They may also be made without a yoke. The yoke may 
be of the same material or of lace or of embroiderj'- ; or it 
may be made of tucks and insertion or tucks and plain 
strips. A ruffle either of the material or of cbmroidery 
may be used around the yoke. Any mode of trimming can 
be used in the finishing. The sleeves are cut flowing or 
fastened into a band. Night dresses may be cut low in 

137 



the neck, either round or square and finished with beading 
through which a ribbon or tape is run and the fullness 
drawn up to fit the wearer. Make gowns large and roomy 
as they shrink in the laundering. In fact, all muslin under- 
wear should be made large to allow for shrinkage. 

A chemise is also cut the same as a nightgown, only 
no yoke is used and it is made shorter. The top and iirm- 
holes are prettily finished with beading and ribbon drawn 
through it to regulate the fullness. 

For a tight-fitting corset cover use the draft as given 
in Lessons 1 and 2, cutting the side forms in the back sep- 
arately and using the darts in front. Hollow out the neck 
either rounding or square or cut it V-shaped. Sleeve caps 
may be placed in the armholes or trimmed around with 
narrow lace or embroidery. A very popular corset cover 
is now made from wide embroidery. Some make them to 
extend straight around the form below the arms, but as 
this is so low it does not give sufficient protection. To allow 
it to come higher, place the front and back drafts on the 
embroidery and cut out an armhole large enough to permit 
the embroidery to come up well under the arms. The raw 
edges may be hemmed or faced with a very narrow fac- 
ing. Kibbon or beading and ribbon sewed to the cover 
to extend over the shoulder will hold it up in position. The 
fronts are cut as wide as desired and the fullness adjusted 
with ribbon run through the top of the embroidery. The 
lower edge of the cover is shaped that it may r^lope from 
the back to a dip length to form a blouse in front. The 
fullness may be gathered into a band cut the size of the 
waist measure, or the bottom hemmed and a tape or ribbon 
run through the hem and the fullness adjusted each time 
it is worn. A peplum may be put on at the bottom also if 
desired. The fronts are finished with a hem and an under- 
lap which is done before the bottom is finished. Close the 
fronts with buttons and buttonholes. The right side of the 
front should be faced with plain material as the button- 
holes are hard to work in embroidery. 

Another method of making a corset cover is to make 
it without seams. Use the same draft as given in Lessons 
1 and 2, omitting the side forms in the back and instead 
of using the darts, take off in front or on Line 1 from dot 

138 



F to Line 8 one-half the quantity usually used in the darts, 
and the other half from the under arm seam from dot G 
to Line 8. That is, begin at dot F and slant to Line 8 one- 
half the quantity or width of darts, and begin at dot G 
and slant .to Line 8 the other half of the dart's width. Cut 
the front out and place the under arm line on Line 22 of 
the back and pin together. Place the center of the back 
on a straight fold of the goods, allowing for fullness if de- 
sired. The front will come out bias. Hollow out the neck 
the desired depth. Finish with a peplum around the bot- 
tom and with beading and ribbon at the top or neck. 

To draft a combination suit, draft a front and back 
as given in Lessons 1 and 2, except that you do not need 
the curved forms in the back. The back will have to be 
reversed; that is. Line 22 of the back must come next to 
Line 5 in front. Draft the drawers as if they were to be 
made separately, except they should be drafted a little 
longer on Lines 1, 7 and 8 to take the place of the band 
or yoke. Unfold the drawers, draft and join the front to 
the front of the waist having Line 8 in the drawers meet 
Line 1 in the front of the waist and Line 7 in the drawers 
meet Line 21 in the back. Gather the back of the drawers 
and join to the back of the waist. 

A union suit is also very p'^itty made with a row of 
beading at the waist line and 1 .le fullness drawn up with 
a ribbon or tape. The neck is hollowed out and finished in 
the same manner. The armholes and neck may also be 
finished with a narrow edging of lace or embroidery. If 
the combination suit is made to open in front the drawers 
will have to be made open. Finish with felled seams. The 
drawers may also be made with a wide yoke and the yoke 
joined to the waist. If a skirt is preferred instead of the 
drawers, apply in a like manner. 

Draft children's waist and drawers and join them to- 
gether as given above for adults, and a good pattern for 
children's night drawers is obtained. The waist is opened 
in the back, and the back of the drawers put into a band, 
which should button to the waist. The leg should be drafted 
to the ankle. Any plain sleeve may be used. 

To draft children's drawers, take two measures, the 
waist measure, and a side measure, from the waist line over 

139 



LINL 4 




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140 



the hips to the knees. The latter is the length the drawers 
are to be. Make Line 1 from A to Line 4 the length of the 
side measure, then add one and one-half inches above dot 
A from which to draw Line 2. Make Line 2 three-fourths 
of the length of the side measure, plus one inch, and draw 
Line 3 the same length as Line 1, and make Line 4 the 
same length as Line 2. To find dot B, measure out from 
the junction of Lines 1 and 2 one-third of the waist meas- 
ure and add one inch. Make dot E one and one-half inches 
below dot B. To get dot C measure up from the bottom 
of Line 3 one-half the length of the side measure and sub- 
tract one inch. To get dot D measure out from the junction 
of Lines 1 and 4 on Line 4 one-half of the length of the 
side measure. Draw curved lines from A to B and from 
A to E, also from C to D. Draw straight lines from E 
and B to C. 

STITCHES. 

The hand stitches upon muslin differ somewhat from 
the hand stitches upon dresses. Muslin underwear is sub- 
jected to a greater strain in laundering, consequently the 
stitches must be taken firmly through the goods, while in 
dresses the stitches are concealed as much as possible. The 
stitches generally used on muslin are the overhand stitch, 
back stitch, hemming and running stitches. The overhand 
stitch is employed for seaming two edges together, usually 
two selvages. First baste the two edges together, then hold 
the material loosely in the left hand, having the edges be- 
tween the thumb and forefinger, and place the needle in 
from the back and let it point toward the shoulder. Over- 
hand with close stitches over and over the edge, taking up 
as little of the material as possible and making the stitches 
of equal length and depth. When the material is opened 
this edge or seam must lie perfectly flat and not form a 
cord. 

Back stitching is used in seams requiring strength, and 
is made by taking one stitch at a time, placing the needle 
back each time in the same hole where the thread of the 
last stitch was placed. The hemming stitch is a slanting 
stitch and is made by holding the hem across the forefinger 
of the left hand and placing the needle in so it will point 

141 



toward the left thumb. Take up one or two threads of the 
cloth and also catch the fold of the hem at the same time. 
When turning a hem always turn it toward you. Whipping 
is done much the same as overhanding. 



142 



CHAPTER 20. ^ 

Selection of Materials and Designing. 

SELECTION OF MATERIAL AND DESIGNING. 

There are many factors that enter into the selection 
of material and each in its turn should receive due con- 
sideration. Chiefly among these may be mentioned the 
height, complexion, color of eyes and hair, general features, 
general form and build of the body, etc. Another factor 
quite as important from a practical standpoint is the means 
at one's command — one's financial circumstances. There 
is nothing more out of harmony than to see a woman 
dressed, no matter how well and tastily, beyond her means. 
It is every woman's duty to herself, her family and her 
home, to be at all times as attractive as possible in a quiet, 
modest way. It not only elevates the home, but adds much 
towards beautifying the world, and making it a good place 
to live in, but when one dresses simply for a matter of 
display and far beyond her ability and thereby deprives 
her family of the real necessities of life, all the charm and 
beauty are lost to those who admire the beautiful — and 
know the circumstances. No woman with right motives 
will "put all her money on her back." 

In the selection of material, choose that which will add 
to rather than detract from the beauty and personal charm 
of the wearer. One does not have to dress gaudily and in 

143 



loud colors to be attractive. Simplicity is considered one 
of the chief characteristics of a well-dressed woman. 
Above all, dress comfortably. Dress according to the laws 
of nature and in harmony with the surroundings. Beauty 
in personal appearance is often lost by a lack of under- 
standing how to maintain and utilize the beautiful gifts of 
nature. 

The tall, slender woman should avoid all figures and 
lines that would have a tendency to emphasize and increase 
the effect of height. Plan and design to dress with much 
fullness and many ruffles. If she be well-proportioned, a 
tailor-made gown will be very becoming. The long tight- 
fitting coats will also add to her appearance if the skirt be 
not too short. 

On the other hand, the short, stout woman must, of 
course, employ tactics just the reverse in effect. She must 
avoid all appearances having a tendency to accentuate her 
natural short lines. Simplicity is her safeguard. A skirt 
made with many gores and the use of vertical lines and 
stripes will apparently add to her height. She should avoid 
large, puffy sleeves. 

Harmony of color is of as much importance as proper 
adaptation of lines. If the color is not in harmony with 
the wearer, the smartness or chic is destroyed. The fin- 
ished product must be characterized both by a unity of 
color and a symmetry of outline. 

When making a selection of material, the design of 
the gown should, to some extent, influence both the style of 
material and the width. For instance, if a circular skirt 
or one with very wide gores has been chosen, a material of 
double width should be selected so as to avoid seamings. 
For a skirt with narrow gores a single width material may 
be used. 

Sometimes a women is prevailed upon to purchase too 
much material, and sometimes not enough, but it must be 
remembered that one person may cut more economically 
than another, and while one woman may be contented to 
piece out a width, another would refuse to do so, but would 
open the goods its full width so that no piecings will be 
required. This, of course, necessitates a greater quantity 
of material, but it also denotes good workmanship. How- 

144 



ever, there are occasions when small piecings may be re- 
quired at the lower edge of a gore even in the widest goods, 
but this is unavoidable. 

In designing a garment as well as in selecting the ma- 
terial for it, there are important points to consider, two of 
which are the season of the year, and the occasion for 
which it is intended. Usually light colors and delicate tints 
or shades are more desirable and pleasing in the thin, light- 
weight materials for summer wear, while the darker and 
more neutral shades are more suitable in heavy material 
for winter wear. Garments for summer weather are de- 
signed to be light, cool and airy, but for winter they must 
be lined and interlined. For instance, in summer the coats 
are made of light-weight material, open in front, af a short 
length and perhaps with short sleeves. In winter the long, 
heavy double-breasjted, and high neck collar coat is worn 
and is usually made of a dark color. Of course, there are 
some who can afford to have an assortment of the Tight 
colors, such as white, light tan and gray, but the average 
woman can only afford the most serviceable one. 

The same is true of dresses. People in modest circum- 
stances must plan and design their dresses according to 
their means. That is, if one can only afford to have one 
"extra" dress or costume, plan and design the making of it 
so that it will be suitable for all occasions as nearly as pos- 
sible. Do not cut it low in the neck and with short sleeves, 
as it could then be only properly worn at evening. Do not 
make it a strictly street dress, for then it could not be used 
as a visiting dress. There are many people who can make 
one dress do for most all occasions for one season, and they 
look well, too. 

For a reception gown the soft, sheer materials, such as 
chiffon, crepe de chine, nettings, etc., are most suitable, 
especially for a person who is not too stout and can wear 
broad effects. These gowns may be properly worn decollete. 
For the more stately and well-proportioned figures, taffetas, 
peau de sole, satin, velvet, etc., are used. For young girls, 
netting, chiffon-taffetas, lawn, batiste, wood-crepe, Swiss 
and China silk may be used. 

A wedding or bridal gown may be of silk, satin, chif- 
fon, crepe de chine, lace, or any of the fashionable ma- 

145 



terials which are appi'opriate. ChifFon or crepe de chine 
give very graceful, soft, clinging effects, while a lace gown 
is charming in the extreme. China silk and taffeta may 
also be used, and are less expensive. Organdy and similar 
materials are often used for a young bride. 

A wedding gown should be made high in the neck and 
with long sleeves, although short sleeves may be worn 
with long gloves. A very appropriate as well as economical 
way is to make the dress with a lace yoke attached to a 
guimpe, then should you afterwards want it for dinner or 
evening wear, it is easily transformed by leaving off the 
yoke. 

Silk should form the foundation or lining for the finer 
materials, but if organdy is used, a pretty lawn slip trim- 
med with lace will answer for both the waist and skirt 
foundation. For those who can afford it Liberty satin un- 
der chiffon and net or any transparent material, gives a 
shimmering effect that no other lining can equal. Any 
amount of handwork may be used upon wedding gowns, 
and laces are used very extensively. In fact, the decora- 
tion may be as elaborate as one's taste and means permit. 

Light weight materials can be shirred, tucked, plaited 
or ruffled and do not require as much other trimming as 
the gown made of heavier material. The latter require and 
demand trimmings of jet, applique, lace, etc. 

When combining colors on an evening dress or gown, 
great care must be exercised in the combination, as colors 
look very different in artificial light from what they do in 
daylight. 

Afternoon gowns are made of somewhat heavier ma- 
terial such as broadcloth, voile, velvet, silks, etc. Lace, 
netting and Swiss are also worn over a foundation or lining 
of silk, which must harmonize with the color of the trim- 
ming. 

For street wear almost any material may be used ex- 
cept thin, transparent, light materials. One should select 
something that will wear well. Dark skirts worn with 
separate waists are very suitable for the street. The waist 
may be made of any material, either light or dark. 

146 



COPYING FROM FASHION PLATES. 

With the knowledge you have gained from these les- 
sons you ought, by a reasonable amount of practice, to be 
able to reproduce most any of the costumes and dresses 
you see illustrated in the fashion plates of the fashion mag- 
azines. Every woman, whether she sews only for herself 
and family or for the public, should take at least one of 
the leading fashion magazines, and as many more as her 
means will permit. They constantly reflect the ever-chang- 
ing styles and foretell the tendency toward change and the 
trend in which the coming fashions are moving. Changes 
in styles are not sudden or alKupt, as some suppose, but 
rather gradual and slow. If d^fe-ed, we will furnish a list 
of a number of the leading magazines, giving price and 
address where published. From these you can make your 
own selection. 

In former years the fashion magazines showed only the 
general outline of the gown or costume, leaving all the 
draping and trimming to the originality and ingenuity of 
the dressmaker. But of late years the finished garment in 
colors true to life is shown to the best advantage on the 
figure, oftentimes being even exact photographic reproduc- 
tions. You have learned how to draft your own patterns 
which may be applied to any fashion plate design. The 
draping and trimming, being but minor details, are left 
entirely to your own taste. You can use the plan and 
scheme for finishing the dress as illustrated or may modify 
it to suit your own taste and convenience. Perhaps you 
can make a combination of two or three of the styles given. 
You may like the waist of one and the skirt of another. If 
so, put the two together. Where the illustration has several 
rows of small tucks, you may prefer one or two large ones, 
or where it has tucks, you may prefer shirring. If so, 
make the changes. Do not be afraid of yourself. "Nothing 
attempted, nothing gained," you know. 

If you have always relied upon ready-made patterns, 
and thought it impossible to reproduce the fashion plate 
illustrations without patterns, you will be surprised at the 
ease and success with which you can duplicate the illus- 
trations from your own drafting. Study the fashion jour- 

147 



nals as much as possible. Practice every spare moment at 
reproducing some gown or a part of it by cutting tile 
different parts out of paper or some cheap clotli before 
attempting it on costlier goods. 

One cannot expect to be skilled in designing unless the 
proper materials are at hand with which to work and 
design. First of all, it is quite necessary to have a form 
and some cheap material such as crinoline ,etc., to practice 
on. The material may then be pinned and arranged upon 
the form any number of times in different ways, making it 
a decidedly easy matter to copy or reproduce any style in 
the fashion magazine. One can then pin and unpin, ar- 
range and rearrange until the desired efi'ect is produced. 

After the crinoline is draped upon the form the way 
you wish a waist or skirt to be draped, you can then remove 
the crinoline and drape the material right on the form 
without any delay or difficulty. Always purchase the crino- 
line with which you practice and experiment as v/ide as 
the material which you are going to make up; then you 
will not have to drape and redrape the material on account 
of it not being the same width as the crinoline. 

When making belts or girdles, buy the belt forms al- 
ready made for that purpose, and get them a size or two 
larger than the waist measure so they can be fitted to your 
own figure. Girdles are usually high in the back and 
draped very full. 

The error altogether too common, of carrying a style 
to an unwarranted extreme, must be avoided. This was 
sadly noticeable in the abuse of the pretty and popular 
princess, which was attempted to be worn by all figures, 
when it was designed for and best adapted to only those of 
normal and well-proportioned forms. This abuse of the 
princess is more responsible for its waning in popularity 
among the fashionable than anything else. No style should 
be carried to excess. The old Greek motto, "Modesty in 
all things," is a very good one to observe. 



148 



CHAPTER 21. 

Boys' Pants. Taking Measurements. Waists, seat 
width, outside length, inside length, knee. Drafting front 
of pants, drafting back of pants. Pockets. Fastening. 
Fininshing. 

DRAFTING BOYS' KNEE PANTS. 

The following five measures are used in drafting boys' 
pants : Waist, seat width, outside length, inside length and 
knee. 

Waist measure: Pass the tape around the waist line 
taking a rather loose measure. 

Seat width : Measure over the largest part of the seat 
and on around to the front. 

Outside length: Measure from the waist line, down 
over hip to knee. This should be the length you wish to 
make the pants. ♦ 

Inside length: Measure from the crotch down to the 
knee, or the length desired. 

Knee measure : Take the measure around the knee the 
width you wish the leg of the pant to be at that point. 

The draft used here is made from the following meas- 
ures : Waist 24 inches, seat width 17 inches, outside length 
16 inches, inside length 8 inches, knee 13 inches. 

Measure in one inch from the left edge of the paper 
and down one inch from the top, and draw a perpendicular 

149 



line the length of the outside measure and mark this Line 
1. From the bottom of Line 1 measure out to the right 
one-half of the knee measure minus one-half inch, for the 
width of leg at the bottom, and draw Line 2. From the 
bottom of Line 1 measure up the length of the inside meas- 
ure and make dot A. To find the width of the front on the 
seat line, measure from Dot A to the right one-half of the 
seat measure minus three-fourths of an inch and draw Line 
3. From the top of Line 1 measure out to the right one- 
fourth of the waist measure minus one inch, to obtain the 
width of the top, and draw Line 4. Draw Line 5 from dot 
B to the end of Line 2 for the inside seam. Make a dot 
one-fourth of an inch below the junction of Lines 1 and 2, 
and draw a line from this dot to the junction of Lines 2 
and 5. This is to give a slant to the bottom of the pant. 
Extend Line 1 to the dot below. 

Also make a dot one-fourth of an inch above the right 
end of Line 4 and draw a line from this dot to junction of 
Lines 1 and 4 to give a slant at the top. Draw a curved 
line from the last dot to dot B and mark it Line 6. (See 
Fig. 1.) This completes the draft for the front of pant. 

DRAFTING BACK OF PANTS. 

Measure in one inch from the left edge of the paper 
and down three inches from the top and draw a line the 
length of the outside measure and mark this Line 7. From 
the bottom of Line 7 measure out to the left and draw a 
line and mark it Line 8. From the right end of Line 8 meas- 
ure to the left three and one-half inches and make dot C. 
From dot C measure out to the left one-half of the knee 
measure plus one inch, for the width of the leg at the bot- 
tom, and make dot D. 

From the bottom of Line 7 measure up the length of 
the inside measure and make dot E. Measure to the left 
of dot E two inches and make dot F. To get the width of 
seat, measure out to the left of dot F one-half of the seat 
measure plus one and one-half inches and make dot G, and 
draw Line 9 from dot F to dot G. Draw Line 10 from dot 
C to dot F, and Line 11 from dot G to dot D. Line 10 
should be the length of the outside measure so continue it 
until it is that length and so it will touch Line 7, ana make 

150 



a dot at the junction and mark it dot H. From dot H meas- 
ure out to the left one-fourth of the waist measure plus 
two inches for the width of the top and make dot 1. Draw 
a curved line from dot G to dot I and curve on up to a point 
about three inches above dot I and mark this Line 12. 
Draw Line 13 from dot H to the end of Line 12. 

Make a dot one-fourth of an inch below dot C and draw 
a line from this dot to dot D and extend Line 10 to the dot 
below. When drawing Line 10 from F to H, allow for flap 
as indicated. (See Fig. 2.) 

Cut the pattern allowing for seams on Lines 1, 5, 6, 10, 
11 and 12. Allow for hems at the bottom and a seam's 
width or more at the top. Fit the back of the. pant with a 
dart in the center of each piece. Sew up the mside seams 
and stitch them flat on the right side ; sew the inside seams 
of each leg, then joining the inside seams at the seat line, 
baste and stitch the front and back seams, then press well 
and stitch on the right side. Hem the bottom of each leg 
portion and finish the placket with a facing. Sew a band on 
the inside at the top for the buttonholes, to fasten to waist. 
The band can also be joined to the pants between the but- 
tonholes. 

If the pants are to have pockets they must be put in 
before the seams are basted and stitched. First stitch the 
darts in the back portions, then cut them so the seams can 
be pressed flat. Mark where the pockets are to come and 
run a colored thread along the mark so that it is visible on 
both sides of the material. Cut a piece of the cloth two 
inches wide and one inch longer than the pocket mark and 
baste it with its right side facing the right side of the ma- 
terial and in such a position that the pocket opening or 

mark will run directly through 

its center and leave one^rhalf of 

an inch at each end. (See Fig. 

3.) Baste a piece of canvas the 

same size as the piece of cloth 

in the same position, on the 

wrong side of material. Two 

Fig 3 rows of stitching must now be 

put in, one an eighth of an inch above the pocket mark and 

the other an eighth of an inch below. Do not stitch across 

151 





at the ends. Tie the ends of the thread of the stitching 
firmly, then cut through carefully exactly on the pocket 
mark with a sharp pair of scissors or a knife, and cut just 
to length of mark. Remove the bastings from the piece of 
cloth, and push the ends through the pocket opening and 
baste around the opening from the outside, letting the loose 
part of cloth form a cord beyond the stitched edge of the 
seam, but no more than an eighth of an inch. At the ends 
the cloth piece may be drawn entirely through the opening 
and basted flat on the wrong side. Draw the two edges of 
the opening together with loose overhand stitches and press 

very thoroughly. (See Fig. 4.) 
Stitch around the opening from 
the outside as close to the seam 
as possible. 

Cut the pockets from some 
strong lining about seven inches 
long and four and one-half 
inches wide. It will require two 
i-'iK- 4 ^ of these pieces for each pocket 

and leave one piece an inch longer than the other. Place 
the two pieces of the pocket together in such a position that 
they will hang straight. Face the top edge of the longet 
piece with a piece of the cloth two inches deep and stitch at 
its lower edge to the pocket. Cut the lower corners of the 
pocket rounding, trimming both portions alike. Now place 
the shorter pocket piece on the inside of the garment so that 
its lower edge will extend toward the top of the garment 
and its straight edge one-half iHch below the pocket open- 
ing and on a line with it. Baste this securely in place and 
stitch from the outside across the straight edge only of 
pocket. Remove basting and turn this piece down so that 
its rounded edge will extend toward lower part of garment. 
Place the longer pocket portion over it with the two rounded 
edges together and with the facing on longer piece toward 
the cloth of the garment. Baste this in position to the top 
of pocket opening and stitch from outside close to the seam, 
as on the lower edge. Now turn in the edges of the two 
pocket pieces and stitch all around. A button hole bar is 
put in to stay the ends of the pockets. 

If the pants open down the front, the opening must 

15?. 



be faced with fly portions. Cut a piece of lining the length 
of the opening and about one and one-half inches wide and 
shape it at lower end by the front portion. Baste this on 
the outside of the front edge of the left front portion and 
stitch along the edge. Turn the facing over to the wrong 
side, allowing the cloth edge to extend over far enough to 
conceal the lining, and baste in place. Cut two more fac- 
ings like the first one, one of the cloth and one of the lining. 
Stitch together on the same edge as the first facing was 
stitched. Then turn, and baste it firmly and stitch on the 
edge to hold it flat. This piece is basted in place on the 
under side of the left front portion with the edge of the 
piece just a trifle under the edge of the front. The lining 
of this piece is placed next to the material. The button- 
holes may be worked in this fly piece now or after it is 
stitched in place and are worked from the cloth side, the 
first one to come just below waist band. A row of stitch- 
ing one-fourth of an inch back of the buttonholes and 
through both outside and flypiece will hold it in place 
against the facing of the left front portion. Overcast the 
raw edges at the inside. 

Cut two more fly facings, one of lining and one of the 
material and sew together at the outer or rounded edge. 
Place the right side of the material to the right side of the 
right front portion, sewing the curved edge of the cloth 
only to the pants. Press the seam open and turn in a nar- 
row edge of the lining and baste down over this pressed 
open cloth seam, and make a row of stitching on the front 
portion close to the seam which will hold the facing in place. 
There should also be a row of stitching on the other edge 
of this extension fly piece to hold it and its facing together. 
Buttons are sewed on this piece to correspond with the but- 
tonholes in the fly. The leg portions are now stitched up the 
seams, pressed open, and the bottoms hemmed. 



153 



CHAPTER 22. 

Stitches. Basting, running, back-stitch, overcasting, 
over-handing, hemming, cat-stitching, feather-stitching, 
hem-stitching. French hem, French knots, buttonholes, eye- 
lets, loops, sewing on buttons, button molds, 



SEWING STITCHES. 

In sewing as in embroidery the beauty of the work 
depends largely upon the smoothness and evenness of the 
stitches. Uniformity in length of stitches and straightness 
of line are of the utmost importance. The mistake is often 
made of using a needle too large and thread too coarse for 
the material, and vice versa. Do not use a long thread, and 
to avoid knotting and tangling, thread the needle with the 
end that hangs from the spool. After threading, make a 
knot at the longest end by twisting the end of the thread 
once and a half around the first finger of the left hand, then 
roll downward on the ball of the thumb, twisting once or 
twice and slip off and draw down to the end of the thread 
with the middle finger. 

The stitches commonly used are the basting running, 
overcasting, overhanding, hemming and cat-stitching. 

BASTING — There are two kinds of basting stitches — 
even and uneven. Even basting is made by passing the 

154 





S'ig. 



needle over and under the material making the stitches of 

equal length. (See Fig. 5.) 
In uneven basting the 
stitch and space are not the 
same length. The stitch 
that is taken up on the 
needle is shorter than the 
space covered by the 
thread. (See Fig. 6.) 

RUNNING— Running 
stitches are made just like 
the even basting stitches 
only smaller. 

BACK-STITCH — To 
make a back-stitch, take a 
short stitch on the upper 
and a longer one on the 
under side, and bring the 
needle out a stitch in ad- 
vance. Continue by insert- 
ing the needle to meet the last stitch, passing it under the 
material and out again. Stitch in advance. Continue by in- 
serting the needle to meet the last stitch, passing it under 
the material and out again a stitch in advance as before. 
Fasten at end by taking two stitches over the last one 
made. (See Fig. 7.) 

Overcasting — When taking this stitch the needle should 
always point toward the 
left shoulder. Hold the 
material loosely in the left 
hand and make the stitches 
about one-eighth of an inch 
in depth and one-eighth of | 

an inch apart, and keep the i 

spaces even between the ; i 

stitches. (See Fig. 8.) This L , J 

stitch is used to keep raw '-'— — ———=—- — _— .-^^ 
edges from ravelling. Fig. » 

OVERHANDING— The overhand stitch is used for 
seaming two edges together, usually to selvedges. Baste the 
two edges together first, then hold the material loosely in 




155 




the left hand, having the edges between the thumb and fore- 
finger, and place the needle in from 
the back and let it point toward the 
shoulder. Overhand with close stitches 
over and over the edge, taking 
up as little of the material as possible 
and making the stitches of equal 
length and depth. (See Fig, 9.) 
When the material is opened the edge 
or seam must lie perfectly flat and 
not form a cord. 

HEMMING— A hem is a fold of 
^"- ■ goods turned down and folded over 

to conceal a raw edge. Always turn the hem toward you. 
Crease the raw edge over one-fourth of an inch with the 
thumb and forefinger. To get the hem equal in width, cut 
a piece of cardboard the width the hem is to be, and place 
the end of the cardboard at the turned edge and mark the 
desired width by putting in pins, or colored thread. Move 
to left and continue marking until hem is marked all the 
way, then fold the material on the marking, and baste it 
down first. The hemming stitch is a slanting stitch and is 
made by holding the hem across the forefinger of the left 
hand and placing the needle in 
it so it will point toward the left 
thumb. Take up one or two 
threads of the cloth and also 
catch the fold of the hem at the 
same time. (See Fig. 10.) It 
is very important to have the 
stitches slant in the same direc- 
tion and of uniform size. 

CAT-STITCHING— Cat-stitching is a small stitch 
used to hold the various edges in dressmaking, especially 
the flannel edges. Place the pieces of the flannel together 
and make a seam. Trim off one edge of the seam and press 
the other edge down to cover the seam. Insert the needle 
under the flat seam at the upper left hand corner, then cross 
to the edge below and take a small stitch a little to the right 
through all the thicknesses ; cross again to the top and insert 
needle as before, taking a similar stitch, always pointing 




Fitf. lu 



156 



the needle to the left. (See Fig. 11.) Flannel seams may 
also be pressed open and each side of the seam cat-stitched. 
(See Fig. 12.) 





Pig. 11 i,M. i;; 

FEATHER-STITCHING— Feather or brier-stitching 
is often used in fancy and embroidery work as well as in 
sewing. To make this stitch bring the needle and thread 
up through the material, which should be held over the left 
forefinger. Take a short slanting stitch, bringing the needle 
out over the thread which 
is held down by the thumb. 
Take the second stitch on 
the opposite side, pointing 
the needle towards the line 
on which you are working. 
Two or more stitches, in- 
vStead of one, may be taken ^^'^- ^^ 

on each side. (See Fig. 13.) The beauty of feather-stitch- 
ing depends upon the uniformity of the stitches. 

HEM-STITCHING— Measure from the edge of the ma- 
terial twice the width of the hem wanted and with a needle 
or pin pick out one of the threads, being careful not to break 
it if possible. The chief difficulty is in drawing the first 
thread. From four to six threads should be drawn, depend- 
ing, of course, upon the texture of the fabric. Turn the 
hem, creasing the edge one-eighth of an inch, and baste it 
even with the threads drawn. Fasten the thread in the hem 
and take up an even number of the cross-threads. Draw the 
needle through and take one stitch in the hem, being careful 
not to take the stitch too deep. Repeat this until hem is 
finished. 



157 



FRENCH SEAM— This is made by joining a narrow 

seam on the 
right side, 
then trimming 
it closely and 
evenly ; turn 
the seam on 
the wrong 
i;^^; ~ ~~q side, crease it 



^e^*****^. 



Fig. 14 

of the first seam. (See Fig. 14.) 

FELL SEAM — A 
fell is a seam hemmed 
down to conceal a raw 
edge. It is made by trim- 
ming off one edge of a 
seam very close to the 
stitching and turning the 
other edge down flat to 
cover the short or raw 



smoothly and 
lake up anoth- 
er seam about 
Mae-fourth of 
m inch deep. 
■ "--* This must fully 
cover the edges 




Fig. 15 



(See 



edge; press hard with thumb, then baste and hem 
Fig. 15.) 

FRENCH HEM — First crease a narrow turn on one 
edge of the material, the^. a second. Hold the wrong side 

towards you and fold 



the hem back on the 
right side and crease 
the material ; over- 
hand the folded edges 
together with very 
short stitches. Open 
the hem and crease 
with thumb. This hem 
is used in hemming 




table linen. 



Fit'. Hi 

(See Fig. 16.) 



158 



FRENCH KNOTS— Draw the needle and thread 
through the material to the right side and take one very 
short back stitch. Hold the needle in the right hand, and with 
the left take hold of the thread near the material and twist 
the needle around the thread three or four times. Then 
put the needle down through the material close to the point 
at which it was brought up. Hold the thread firmly near the 
cloth so that it will not untwist or knot while being drawn 
through. The size of the knot will depend upon the num- 
ber of times the thread is twisted around the needle. These 
knots make a very effective trimming on dresses for chil- 
dren. They are used chiefly in embroidery work. 

BUTTONHOLES— A buttonhole is an opening or slit 
cut in a garment to hold a button, and the edges are worked 
to prevent ravelling. Always cut it straight by a thread of 
the material. The edges are usually barred with the thread 
or twist used in making the buttonhole. This is done by 
putting the needle in from the wrong side at the lower right 
hand side of the hole. Draw it up through the length of the 
thread and carry it to the next end and form a bar by tak- 
ing two stitches, then go back to opposite end and take two 
stitches. Begin working the buttonhole at the corner or 
starting point. Insert the needle from the wrong side 
through the hole, and while it is pointing toward you, bring 
the double thread that hangs from the eye of the needle 
around under the point of needle and draw the needle 
through the loop thus formed, drawing the thread up tight 
and letting the purl come just to the edge of the slit. Skip 
two or three threads of the material and take another stitch, 
and so on. 

When one side is completed, take the stitches around 
the end in a curve and repeat stitches on the other side. 
When the last end is reached, bar the end and work the 
stitches over the bar stitches to fasten the end of the thread. 
The distance apart and the depth of stitch taken depend 
entirely upon the material. When making buttonholes in 
goods that fray out easily it is well to overhand each edge of 
the slit before working the hole; especially is this true v/htn 
making a buttonhole in a bias piece of material. 

EYELETS — An eyelet is a round hole made and worked 
in a garment either for a button or cord, the latter being 

159 



used when the garment is fastened by lacing it up. The eye- 
let is made with a stiletto or bodkin. Hold the hole over the 
left forefinger of the left hand. Overcast it closely with but- 
tonhole twist, drawing the stitches firm to tighten the edge 
of the hole and to keep it open. Use the buttonhole stitch 
and instead of drawing the purl to the edge of the eyelet, 
let it come to the outside, as the purls would soon fill the 
eyelet up. However, the eyelets may be made large enough 
at first to allow the purls to come to the edge as in a button- 
hole. 

LOOPS — A loop is used to take the place of an eye. 
Mark the places where they are to come opposite the hooks. 
Insert the needle from the wrong side and bring it up 
through the material. Make a bar of three stitches one over 
the other about one-fourth of an inch long. Work these 
closely with the buttonhole stitch from right to left, letting 
the purl come over the lower edge of the loop ; fasten on 
the wrong side. 

SEWING ON BUTTONS— Use a coarse thread and 
insert the needle from the wrong side and bring it up 
through the material and into one hole of the button and 
draw it down in place. Lay a pin across the button and 
work the stitches over the pin. If there are four holes in the 
button, turn the pin a little and sew across the other holes. 
After the button is sewed on firmly, remove the pin and 
pull the button from the material as far as possible; wind 
the thread around the button several times and pass the 
needle to the wrong side and take several stitches to fasten 
the thread. 

BUTTON MOULDS— To cover button molds cut a cir- 
cular piece of the material and gather it around its edge by 
whipping it over and drawing the thread up and place the 
mold inside of this. The piece must be cut small enough 
at first so that its edges will not quite meet after the mold 
Is put in or it will look too bunglesome. Overhand the 
edges together and fasten thread securely. A small fac- 
ing may be whipped on to conceal the edges and stitches. 



160 



CHAPTER 23. 

Bias Bands and Folds, Circular Flounces, Graduated 
Circular Flounces, Circular Yoke, Girdles, Cording, Shir- 
rings, Tucked Shirring, French Shirring or Gathers, Ruch- 
ing, Pinking, Mode of applying Shirred Trimmings, Single 
Side-plaits, Single Box-plaits, Double box-plaits, Applying 
Fur Trimming, 

BIAS BANDS AND FOLDS. 

Bias bands, folds and ruffles are used so extensively in 
dressmaking that it is very desirable to know the best and 
quickest way of cutting and making them accurately. 
Spread the material of whatever the bands are to be made, 
smooth upon a table and mark up four inches from the 
lower left hand corner on the left selvedge, and also mark 
four inches to the right of the left corner. Using a yard- 
stick or ruler, draw a line with chalk or pencil fro.-n one 
mark to the other. From this line mark the desired width 
for the bias strips and draw another line through these 
marks. Continue marking off from last line made each 
time until you have a sufficient number marked off. Cut 
through the lines and join the ends together neatly and 
accurately. Make the seams diagonally, not straight.. 

Bias folds are used in many instances and for many 
purposes and are made of various widths. The milliner's 
fold is made by turning the top edge over one-half inch. 

i6i 



The lower edge is then turned under a seam's width and is 
brought up to within one-fourth or one-eighth of an inch 
of the top edge. (This is decided by the size of the fold 
being made.) When several folds are put on a garment 
the lower ones are made plain by folding each through the 
center lengthwise, bringing the two raw edges together. 
Turn the raw edges in toward the inside in a narrow seam 
and baste along close to the edge. The milliner's fold is 
put on at the top by slip-stitching it on. 

When applying straps to seams on a coat avoid, if pos- 
sible, placing the joinings of the straps in a prominent 
place; it is better to waste a few inches and discard the 
piece with the seam in it. To make straps for a coat cut 
them about one and one-fourth inches wide; fold evenly 
through the center lengthwise, right side out and overhand 
the two raw edges together with coarse even stitches. Flat- 
ten it out so that the row of overhanding will come in the 
middle of the strap and press well on the wrong side. Baste 
it over Lhe seam on coat and stitch near each edge through 
both strap and coat. 

When making crepe folds cut them straight across the 
goods, if possible, as this will show the crinkles running 
diagonally. When cut bias the crinkles will run straight 
and the effect is not so good. 

CIRCULAR FLOUNCES. 

To cut a circular flounce, cut a circle of paper whose 
diameter will be thirty-four inches. To do this properly 
spread out the paper on a table, place the end of the tapeline 
in the center of the paper and hold it there with the fore- 
finger of the left hand. Then stretching out the tapeline 
with your right hand, hold your pencil at the twenty-six 
inch m.ark and make a circle carrying the tapeline clear 
around with the pencil and letting it revolve under the fore- 
finger at the center, but holding it in one place. Now hold- 
ing the end of the tapeline in the center again, place the 
pencil at the thirty-four inch mark and make another large 
circle. Cut in the twenty-six inch circle mark, and you vih 
have a pattern for an eight-inch circular ruffle. Cut this 
into halves and lay one straight edge on a double fold of 
the goods and cut out. This will necessitate piecing the 

162 



goods, but piece it on the straight always. It will require 
two of these for the entire flounce. 

GRADUATED CIRCULAR FLOUNCE. 

Use a seven-gore skirt pattern and lay all the gores 
out on a piece of paper, having the front edge of the first 
side gore touch the back edge of the front gore, and the 
front edge of the second side gore touch the back edge of 
the first side gore, also add back gore in same manner to 
second side gore. Now arrange the bottoms of each gore 
so there will be a small space between them, and pin the 
gores down in a number of places. Draw a circular line 
around the bottom from the front to the back gore. Meas- 
ure up from the bottom of the front gore the width you 
wish the flounce to be at that point and mark it, also meas- 
ure up on the back edge of the back gore the width you 
wish flounce to be there and mark it. Begin at the mark 
on front gore and draw a circular line, gradually increasing 
the flounce in width until the mark in the back gore is 
reached. Trace the line just made and remove the gores 
and cut in traced line. Lay the pattern with its front edge 
on a fold of the goods and cut. This flounce may also have 
t(? be pieced. 

CIRCULAR YOKE. 

Place the shoulder seam of the front to the shoulder 
seam of the back so that the neck line will be one continu- 
ous line, and lay these on a piece of paper. Trace around 
the neck curve in both front and back and also down the 
front and back the width you wish the yoke to be. Remove 
the drafts and cut out the neck curve and round it at the 
bottom. If yoke is to open in front lay the back edge on a 
fold of the goods; if it is to open in the back lay the front 
edge on a fold. If you wish to make a circular yoke of 
bands and trimmings to run around, baste them on to the 
paper pattern, shaping them as they are basted. The bands 
or trimmings, whatever they may be, will have to be 
fastened together with fancy stitches. 

GIRDLES. 

The foundation or form for the different styles of 
girdles can be purchased so reasonably that it saves a great 

163 



deal of time to purchase them already made up. However, 
if you prefer to make them, use a bias piece of canvr..:, edi- 
ting it the shape and width you wish the .'^'irdle to be. 
Stitch a small dart under each arm and r-robably in the 
center back to make it fit at the v/aist line. Then fit it to 
the form or figure and open and press the seams. Stitch 
featherbone in the front, back and under each arm on the 
seams. Cover the edge of the canvas with the material and 
the girdle is ready to be draped. 

CORDING. 

Cording is made of bias band? about three-fourtiis of 
an inch wide, with a cord placed m the center and the goods 
folded down over it and basted close up to the cord. Rows 
of plain cording are made by folding over the material at 
the desired places, putting the cord in position and sewing 
along with short stitches close to the cord. Make as many 
rows as you wish at regular intervals. The cord may be 
any size desired. Be very careful not to let it twist when 
basting it in. 

To make shirred cording first mark the distance apart 
the rows are to be, if more than one row. Then put the 
cord under the material at each line of marking and sew 
them as in plain cording, being careful not to catch the 
cord. The desired number should all be run in, then the 
threads drawn up together, being sure that the cord is 
drawn up evenly at the same time. 

SHIRRINGS. 

There are many different styles of shirring, the one 
most commonly used being the straight plain shirring. If 
more than one row is used, they should all be marked first. 
If the material is too thin and flim.sy to be marked, run a 
colored thread in, which can be removed after the shirr 
thread has been put in. Do not use very fine thread or 
silk because it will knot and break. Make a large knot at 
the end of the thread before starting so it will not pull 
through. Leave a long thread at the end of each row. 

TUCKED SHIRRING. 

This is made by making a tuck any width desired and 
shirring it. They may be put in singly or in clusters. Great 

164 



care must be exercised in the marking of these tucks as any 
unevenness whatever in the shirring mars the effect en- 
tirely. Tucked shirrings of this character can be shaped to 
accommodate almost any pattern by drawing up or letting 
out the threads. If necessary, the thread of the first tuck 
may be much shorter than the last, if a curve is being 
formed. Tucked shirring somewhat resembles cord shirr- 
ing, only it has a softer appearance. 

FRENCH SHIRRING OR GATHERS. 

These are made by taking a succession of small stitches 
on the under side and longer ones on top. These stitches 
must all be kept the same length as when begun to insure 
evenness. Three rows are usually made and the stitches 
in each row must come one below the other to draw up 
properly. This method is particularly desirable for heavy 
material and is used when adjusting a quantity of material 
to a comparatively small place, as is sometimes used at the 
back of skirts. 

RUCHINGS. 

Ruchings are made fuller than ruffles and before they 
are gathered they should measure about twice the length 
of the space they are to cover. They may be cut straight 
or on the bias. When making them of chiffon or net cut 
them on the straight. Cut as many strips as desired and 
join them with seams. They should be about two inches in 
width. Fold the top edge over one-fourth of an inch, bring 
the lower edge up to the center of the strip and fold the top 
edge which has been turnd under, over it. This brings both 
edges to the center so that no raw edge remains. Shirr 
through the center and the ruch is formed. 

Single ruchings of silk or woolen materials are cut in 
bias strips about two inches wide, seamed together and 
pinked on each edge, and either plaited or shirred through 
the center. In cotton goods they are hemmed on each edge 
with a very narrow hem. 

There is also a three-tuck ruching which is made by 
cutting the strips six or seven inches wide and seaming 
them together. Then fold through the center likewise and 
mark along this fold. Open it again and bring the top 
edge to within one-half inch of the center fold or mark ; also 

165 



bring the lower edge up to within one-half inch of the fold. 
Fold through the center again where it was folded at first 
and shirr it along one inch from the center fold. When the 
shirr is drawn up there will be a ruche with three tucks 
even in width. 

PINKING. 

Pinking is used either on bias or straight materials, 
but the former gives much better results. It is done with 
a pinking iron which should be very sharp. They come in 
different sizes and patterns. 

The edges to be pinked should be folded together with 
several folds of the goods and basted securely together. If 
the material is heavy only two or three thicknesses must 
be cut at one time, but in thin, soft materials several thick- 
nesses can be cut. Place the material on a block of wood 
and holding the pinking iron in position and strike it very 
hard with a hammer, being careful to hold the iron level so 
it will cut through all the thicknesses. Do not raise the 
iron until you are certain it is all cut, which may be ascer- 
tained by slightly pulling the edge v/hich is to come off. If 
it does not come readily give the iron another stroke. Con- 
tinue until the end is reached. 

MODE OF APPLYING TRIMMING. 

Before shirring any material always divide it into 
fourths, making marks at the division points; also divide 
the place where the shirring is to be applied into fourths. 
Then use a thread at least long enough to shirr one-fourth 
of the material each time, and when applying the shirring 
to a garment, pin the quarter marks of the shirring to the 
quarter marks on the garment and adjust the gathers 
evenly between each two quarter marks, letting the seams 
come in as inconspicuous places as possible, and baste it. 
It may then be stitched or fastened down by hand. Fasten 
the ends of each thread securely and clip off any extra 
length. 

SINGLE SIDE PLAITS. 

Single plaitings require about three times the length of 
space where it is to be applied. The plaits are usually cut 
on the straight of the material and are any length desired. 
One edge should be hemmed before plaiting. If you chance 

1 66 



to have a plaiter, follow the instructions which accompanied 
it. If done by hand begin at the hemmed edge and lay the 
plait the width wanted and baste as you proceed to the other 
end, with small running stitches right on the edge of the 
plait to hold it down firmly so that when pressing, the edge 
will not turn up. Keep the edge of the plait on a straight 
thread of the material. Lay the next plait in the same 
manner, allowing it to come right up close to the plait just 
laid, and continue until the plaiting is finished. If the plaits 
are very wide more than one basting thread will have to 
be put in. It is then pressed. Lay the plaiting on a press- 
ing board or table with the wrong side up ; wring a piece of 
muslin out of water as dry as possible and spread over thp 
plaiting. Use a hot iron and press until the muslin is per- 
fectly dry. Do not try to press very fast or the plaits will 
twist and wrinkles will be pressed in them. In such a case 
the muslin will have to be redampened and the wrinkles 
pressed out. Always use a fine thread when basting the 
plaits in as the bastings are not removed until after the 
pressing is done and coarse thread will often leave marks. 

SMALL BOX-PLAITS. 

Single box-pleating also requires about three times the 
length of space it is to cover. It is made by first turning a 
side plait, then reversing and turning an equal sized plait 
in the opposite direction, bringing two single side plaits fac- 
ing each other on the wrong side. These are pressed in 
the same manner as single side plaits. 

DOUBLE BOX-PLAITS. 

Double box-plaits are made like single box-plaits only 
two side plaits are laid one over the other, the lower one 
extending out a little wider than the top one. Let the cen- 
ter fold on the under side extend to the center of the plait. 
If three of these side plaits are laid they are called triple 
box-plaits. Double box-plaits require about four times -he 
length of space to be covered and triple box-plaits require 
six times the length of space. These plaits may be laid 
solid or with spaces. 

Ruchings are frequently made of the double and triple 
box solid plaitings, and either hem.med or fringed on the 
edges and stitched through the center. 

167 



Plaitings are applied on underskirts in different ways; 
sometimes the raw edge is basted to the garment and then 
covered with a bias strip or seam covering; sometimes they 
are made with a heading of their own by turning the edge 
over at the top before the plaiting is done, and then stitched 
on. Another way is to measure up from the bottom of the 
skirt three-fourths of an inch less than the width of the 
trimming to be applied, and mark this width all around 
with a colored thread. Place the plaiting on ihe skirt with 
its right side toward the right side of the skirt and its 
lower edge toward the top of skirt and its upper edge even 
with the mark which was made with the colored thread. 
Baste and then stitch. Remove the basting and let the ruf- 
fle or plaiting fall over. This may be restitched at the top 
after the ruffle is let down, though this is not necessary- 

APPLYING FUR TRIMMING. 

Applying fur trimming is not a very easy matter, espe- 
cially to one inexperienced in that line. Use what is called 
a glover's needle, and heavy glazed thread or buttonhole 
twist. The trimming is usually sold in bands of different 
widths. When necessary to join the widths turn the pelt 
side up and push the fur pway as much as possible and join 
with an over and over stitch. When cutting collars and 
revers from the fur piece, first tsck the fur to a board with 
the pelt side up, stretching it well. If the pelt seems hard 
and dry dampen it to m.ake it soft and pliable. Lay the 
pattern on and outline it with crayon or pencil. Then use a 
sharp pen knife and cut through the pelt only. If there is 
a weak place in the skin it must be drawn together before it 
it stretched upon the board. W^hen joining pieces of fur 
be careful to have the hairs run the same v/ay in the differ- 
ent pieces. Apply fur trimming to the cloth with a close 
hemming stitch. Hold a piece of cardboard next to the fur 
and close to the edge where it is being applied and the 
thread will not twist and knot up with the fur. The card- 
board can be moved along as it is sewed. 



i68 



CHAPTER 24. 

Fitting up a Dressmaking Shop. Location. Room, 
Space, Reception room, sewing room and fitting room. Fur- 
nishings. How to Construct a Form for one's own use. 



FITTING UP A DRESSMAKING SHOP. 

The first thing to be considered in opening up a dress- 
making establishment is the location. As it is to be a busi- 
ness concern it should be located where you will get the most 
business, and where it is most accessible. Unless one has a 
large capital with which to start, it is better to avoid the 
strictly business part of the city because of the high rents 
usually charged in those parts, and locate nearer the resi- 
dence district. 

The next thing to consider is your room space. In 
many cases you will have to take just what you can get, 
but by a little planning and ingenuity on your part, you can 
arrange it so as to meet all the necessary requirements. 
Select one large, airy, light room, or a suite of three rooms. 
In the former, you can curtain it off into three divisions — 
a reception or office room, a fitting room and a sewing room. 
Or, you may have a carpenter partition off the space for 
you, using cheap ceiling lumber and extending the parti- 
tions only a part of the way up. In the reception and fit- 
tmg rooms put neat white swiss sash curtains at the win- 
dows. 



169 



Make your reception room or office as cheerful and 
home-like as possible. The furniture, of course, will depend 
upon the amount you wish to spend on it. A rug, a table 
well supplied with fashion magazines, two or three rock- 
ing chairs and a few pictures on the wall, including your 
diploma, are all that are necessary in this room. 

In the fitting room you will need only a full length 
mirror, a small table and one or two chairs, and a good- 
sized footstool up on which your patron can stand when 
measuring length of skirt. 

The sewing room is the most important of all, as this is 
where you will spend the greater part of your time and 
where the bulk of the work is done. Too much care and 
judgment cannot be exercised upon the arrangement of this 
room. Above all, have all the daylight you can possibly get, 
as the best results in sewing are to be obtained only in good 
daylight. Next to light is convenience. Arrange all the 
furnishings of this room with the object of having every- 
thing as convenient as you can. One machine may do for 
a while, but you will probably need two or more soon. 

There should be at least two long tables in this room; 
one should be high enough to draft and cut the patterns 
and material without having to bend over ; the other should 
be low enough to sit at and sew. Both tables should be 
well supplied with drawers in which to keep all the acces- 
sories, such as the un-cut materials, linings, canvas, trim- 
mings, unfinished garments, etc. 

Provide each helper with an easy chair and a work 
box containing scissors, basting and sewing thread of the 
different colors, needles, hooks and eyes, tapeline, tailors' 
chalk, emery, lapboard, etc. Avoid having them to get up 
and look for all these things, as it takes time and provokes 
worry. You will need about three press boards — a waist 
board, sleeve board and skirt board, all of which should be 
padded and covered with heavy muslin. 

The waist board should not be very wide and not nec- 
essarily over two feet long. The sleeve board is a narrow 
board, wider at one end than at the other. The skirt board 
is a long common ironing board, over which the skirt can 
be easily slipped and the seams pressed. This board may 
answer the purpose also of the other two boards. Two 

170 



small irons and one large one to press heavy material are 
needed. Several pieces of muslin should be provided, as 
they are sometimes needed in pressing, as explained in a 
former chapter. 

Several simple bust forms may be needed, or one of the 
adjustable forms, bust and skirt combined, will be all that 
is necessary for a while. Besides the shears for cutting and 
trimming you will need one or more pairs of buttonhole scis- 
sors. Keep them all sharp. Do not depend upon newspap'irs 
in which to send out the finished garments. Buy a roll of 
wrapping paper and have it attached to one end of the 
table. You will need this also in drafting patterns. On 
one side of the room tack a strip of muslin about two or 
three inches wide to pin the different garments to as fin- 
ished. Don't throw them over the back of a chair or on a 
table where they will become wrinkled. 

When drafting patterns notice if your tapelines corre- 
spond with the yardsticks in length of inches. Tapelines 
often draw up and this will cause a great deal of trouble. 
A carpenter's square is a very handy device in drafting and 
will shorten the labor quite a little. 

HOW TO CONSTRUCT A FORM FOR ONE'S OW^N USE. 

Where family sewing is done in the home it is almost 
as important to have a dress form as it is to have a machine, 
and one may be constructed at much less cost than the 
boughten ones and will answer the purpose quite as well. 

Cut and seam a lining of some very strong duck or 
drilling crossways of the material. Use the darts in front 
and the forms in the back and cut it at least six inches be- 
low the waist line. Use the measures of the person for 
whom you are sewing, so that every curve and line will 
conform to her figure in its proper place. Fit the lining on 
the person as carefully and perfectly over the hips as any 
part of it. Stitch the seams with very coarse thread to 
make them stout. Stitch up the center front line, leaving 
a space in the middle large enough to admit the hand and 
fill the lining with bits of cloth and cotton. The latter is 
better, but requires a large quantity, as it must be made 
very solid. This will take lots of time and patience, for the 
stuffing must be done evenly and smoothly in order to bring 



171 



out the curves. Cut a piece of cardboard the size of the 
neck and two inches wide and fit inside the neck of the 
lining. Glue it to the lining. Use a stocking leg to form 
the arm. Take a large dart in it at the elbow point to form 
the bend at the elbow. Stuff this until it is the same size 
as the arm, and make it the same length as the arm. Sew 
it in the armhole of the lining. Be sure there is enough 
stuffing at this point. Since the form is now perfectly fitted 
to six inches below the waist, the skirt can be fitted also. 
Place the stuffed lining upon a standard or pole of some 
sort, having it arranged so the skirt will hang freely. If 
a bustle and hip pads are worn, remember to place them on 
the form also when fitting the skirt. 

Papier mache forms, such as are seen in stores for dis- 
playing goods upon, can be purchased at a slight cost, and 
by putting the fitted lining over this and stuffing it out 
where necessary, saves a great deal of time. Where there 
are two or three in family to sew for it is better to pur- 
chase one of these forms, having the bust measure corre- 
spond to the bust measure of the smallest person. Each 
one will need a fitted lining, then when using the form put 
on the lining needed and stuff it up. In this event, do not 
stitch the center fronts together before putting it on the 
form, but overhand them together after the lining is on the 
form, leaving a space in the center large enough to put in 
the filling. 

These forms are very useful for pinning on trimming 
and laces, etc., to enable one to see the effect, and also in 
designing and planning a costume. 



172 



CHAPTEK 25. 
Ilcuse-iolcl Recipes. Washing flanrels and blankets. 
How to Vv'ash an inrant's underwear. How to clean and 
Keep Lace. Cleanirg Delicate Fabrics. To restore tlie 
finish to old goods. To make old black Cashmere look new. 
To restore color to faded ribbons. Washing cotton goods 
v.ithout fading. To restore color destroyed by acid. Clean- 
ing velvets. Cleaning kid gloves. 

HOUSEHOLD RECIPES. 

WASHING FLANNELS. 

As one wash is sufficient to ruin flannels, unless the 
work is done in a proper manner, particular attention 
should be given their first launder. If this is done properly 
they will not be apt to shrink so much later on. The secret 
of washing flannels is to have the changes of water of the 
same temperature and never to rub soap or anytliing di- 
rectly on the garment. Keep the temperature of the vv'^ater 
the same throughout the entire process, as sudden char:.!:';es 
from hot to cold will shrink any woollen fabric. Flannels 
should have a clean suds prepared especially for them and 
should be well shaken before being put in water to free 
them from lint and dust, and the water must be warm, but 
not boiling, as flannel shrinks when put into boiling water. 
Stir two tablespoonfuls of a good washing powder in a 
quart of lukev/arm water until a strong lather is produced 

173 



and pour this into a tubful of water of the same tempera- 
ture before the flannels are put in. Lay the flannels in the 
suds and cleanse by lifting up and dov/n and rubbing with 
the hands. From this water lay them into a second pre 
pared exactly like the first and of even temperature. Rinse 
well in this and lay them in clear, warm water. Wring 
through the clothes wringer, pull and shake well and dry 
in warm temperature. While drying, shake, stretch and 
turn them several times and they will keep soft without 
shrinking. If possible press before perfectly dry, but after 
they are dry a damp cloth should be placed between the 
iron and the garment. 

Blankets are washed in the same manner, though, of 
course, they are not ironed. All work of this kind must be 
done rai)idl3^ for the chief point in v/ashing flannels is not 
to let them lie in the water a moment longer than necessary. 
The fumes of a lighted match of the old-fashioned variety 
will bleach out the remnants of stains in many instances in 
flannels. 

HOW TO WASH AN INFANT'S UNDERWEAR. 

Tlie baby's underwear should be of flannel, as soft and 
fine as the means at hand will permit, and kept in the best 
possible condition by washing it properly. If washed care- 
lessly they will shrink and be so rough that they will irri- 
tate the tender flesh almost beyond endurance. 

The following method has been used successfully for 
years and the little garments retain their soft, fleecy look 
until worn out: Use water that is as hot as you can bear 
your hand in comfortably to cleanse and purify the gar- 
ments. Dissolve a little borax in it and add enough soap 
to make a strong suds; wash the flannel through two waters 
prepared in this way — plunging up and down and rubbing 
gently between the hands. Do not rub soap on the flannels, 
as this will thicken the texture. Rinse through clear water 
of the same temperature as that used for washing, and pass 
them through the wringer. Pull and stretch each in shape 
before hanging out. This is quite im.portant, as the tiny 
wool fibers interlace, causing them to become hard and 
shrunken, if neglected. After drying, spread them on the 
ironing board, cover with a damp cloth and iron over this, 
pressing down heavily. Do not have the iron too hot. 

174 



HOW TO CLEAN AND KEEP LACE. 

Lace should never be rubbed hard, for this will break 
the delicate threads and destroy its beauty. Fill a large- 
mouthed bottle half full of water in which a little borax 
has been dissolved. Dip the lace in water and after rub- 
bing soap on it put it in the bottle and set it on the back 
of the stove or some other place where it will keep warm. 
Allow it to soak ten or twelve hours, shake the bottle up 
for a few minutes and pour the contents. into a pan or basin. 
Dip the lace up and down in the water, then squeeze or press 
it out (never wring it) , and rinse through two waters, add- 
ii:g- a little boiled starch to the second. Press while it is 
wet, upon a clean board or marble slab, to dry, placing 
each scallop straight and smooth. The borax cleanses the 
fabric without rotting or injuring it in any way. 

Another v/ay of cleaning lace is to roll it tightly around 
a glass bottle and fasten it securely. Make a suds of warm 
water and pearline and allow the lace-covered bottle to soak 
in this for several hours. Repeat the process in another 
suds, patting the lace often with the fingers. Rinse in sev- 
eral waters and then dry the lace on the bottle with a soft 
towel. 

To clean lace that is slightly soiled sj)rinkle some mag- 
nesia upon a smooth sheet of writing paper, and lay the 
lace upon the paper and sprinlde more magnesia over it; 
cover with another sheet of paper and place a book or some 
light v/eight upon the paper, letting it rest for several days. 
Then take it up and brush the powder out. It will be nicely 
cleaned. 

Laces that are seldom used or worn should be rolled 
upon strips of dark blue paper to keep them firm without 
creasing them. Do not fold fine cobweb lace when putting 
it away; drop it carelessly into a satin-lined box and allow 
it to remain in the position you place it ; do not finger it or 
move it about. 

CLEANING DELICATE FABRICS. 

To remove mildew from any white cloth stir one ounce 
of chloride of lime into a quart of cold water. After it has 
settled two or three hours pour the clear liquid oflf into a 
bottle and it will be ready for use. Dip the mildewed spots 
in the liquid and let dry. If one application does not remove 

175 



the stain entirely repeat the process. Rinse in clear water. 

To cleanse grease from wool or silk, apply a fluid made 
by dissolving two ounces of white soap and one-half ounce 
of borax in a quart of warm soft water. Pour a small 
quantity into a bowl, add the same amount of water and 
sponge the goods with it. After it is clean sponge with clear 
water and hang up to dry. 

Paint may be removed by washing the spots in turpen- 
tine. If the cloth is too heavy to be washed, put two parts 
ammonia and one part turpentine in a bottle and shake 
well. Apply this until the paint is softened, and it can be 
scraped off. 

Spots of paint, grease, pitch or oil may be removed 
from silk or linen by rubbing with purified benzine applied 
with a cloth or sponge. To destroy the odor of benzine add 
a little oil of lemon. 

Fruit stains may be removed from clothing by pouring 
boiling water through them. Ink spots may be removed 
with sour milk, and afterwards rubbed with a piece of 
lemon on which some salt has been sprinkled. Remove tar 
spots by putting butter upon them, and then wash out the 
grease spot with soap and water. 

To remove ink from white linen, dip the spots immedi- 
ately in pure melted tallow, then wash out and the ink will 
have disappeared. To remove iron rust from clothing mix 
a teaspoonful of oxalic acid in three tablespoonfuls of hot 
water and apply to the spots. It will bleach out the rust, 
and if washed afterward with clean water will not hurt the 
goods. 

Another method is to tie up the spots with a little 
cream of tartar, and place in cold water and let come to the 
boiling point, when the rust spots will disappear. Lemon 
juice and salt are also good for the same purpose. To re- 
move iron rust from linen or cotton, wash the cloth through 
one suds and rinse. Rub ripe tomato juice on the spot and 
lay in the sunshine until nearly dry, then wash in another 
suds. 

TO RESTORE THE FINISH TO OLD GOODS. 

The fine glossy finish that comes on certain grades of 
new woollen goods must sometimes be restored to make an 
article look well. Thus if a stain is made on the goods the 

176 



gloss is removed when the stain is washed out. This leaves 
a dull spot on the material, spoiling the general effect of the 
whole piece. To restore the original glossy finish the cloth 
should be laid on the table or other smooth surface and 
carefully brushed with weak gum water. Dip a clean tooth- 
brush in the water and lay the gum water on carefully and 
evenly. Then place a sheet of clean white paper over it, 
and either press it with a lukewarm iron or put a weight 
on the paper and leave it there until dry. When the cloth 
is dry the dull spot will have disappeared, and if the opera- 
tion has been performed successfully there will be no break 
in the glossy finish apparent to the eye. 

To obtain the glossy effect on linen, it is advisable when 
washing to put a little gum arable in the starch. Dissolve 
a half teaspoonful of the gum arable in boiling water, and 
when cold add to the starch. The linen will then have a 
beautiful gloss finish when ironed. 

TO MAKE OLD CASHMERE LOOK NEW. 

Soak the goods in strong soft-soap suds two hours; 
then, having dissolved one ounce of extract of logwood in a 
bowl of warm water, add warm water to cover the goods, 
which should be taken from the suds without wringing. 
Allow the goods to stand in the logwood water over night; 
in the morning rinse in several waters without wringing. 
To the last water add one pint of sweet milk, which will 
stiffen the goods a little; iron while quite damp. 

Another method is to wash it in hot suds in which a 
little borax has been dissolved. Rinse in bluing water- 
very blue — and iron while damp. 

TO RESTORE COLOR TO FADED RIBBONS. 

Add a little pearlash to soap lather, place the faded 
ribbons therein and their natural color will be restored. 
Silk colors may also be restored when treated in this man- 
ner. 

Cloth that has turned yellow from long standing may 
be whitened by soaking it in buttermilk a few days. White 
clothing that has been discolored from red calico, or streaks 
that are often found on napkins or towels, which by mis- 
take have been washed with the white goods, may also be 
removed by soaking in buttermilk. 

177 



WASHING COTTON GOODS WITHOUT FADING. 

Two cups of salt dissolved in ten quarts of cold water 
is the proper mixture in which to dip cotton goods before 
washing them. Goods of black and white, slate color, brown 
or their shades, may then be washed with safety, for the 
salt sets the colors. After they have been dipped in the 
solution hang them in a shady place to dry and afterward 
wash them in the usual way. Calicoes and muslins do not 
require hot suds and should never be allowed to soak long 
in the water. Wash quickly, turn the wrong side out, dry 
in the shade, and always iron on the wrong side with a 
moderately hot iron. 

Very delicate cotton or colored things of any descrip- 
tion, silk, or flax embroideries and the like, should be put 
in bran water with soap jelly and not soap powder or soda, 
then rinsed in salt and water. To make the bran water, tie 
up a quart of bran in a muslin bag, boil it and let the water 
cool until it is almost tepid. Wash the articles thoroughly 
and quickly, and rinse in cold, salt water, adding a little 
vinegar if the colors need reviving. Pass through the 
wringer, hang in the shade, and iron on the wrong side 
before quite dry. Cretonne may also be washed in the same 
way. 

TO RESTORE COLOR DESTROYED BY ACID. 

First apply ammonia to the spot to neutralize it, after 
which an application of chloroform will, in almost all cases, 
restore the original color. 

CLEANING VELVETS. 

Lay the velvet on a table or some other smooth surface 
and apply naptha with a toothbrush to the spots only, brush- 
ing it well into the pile and against the nap. 

To remove creases in velvets, hold the creased part over 
a pan of steaming water, or spread a damp cloth over a hot 
iron and pass the velvet slowly over this, brushing it with 
a soft brush against the pile. Repeat the process until the 
crease disappears and until the pile stands up. 

Faded plush may be brightened by brushing it very 
lightly with a sponge dipped in chloroform. 

Mud stains on a black dress may be removed by rub- 
bing them with the cut surface of a raw potato. 

178 



CLEANING KID GLOVES. 

Kid gloves may be nicely cleaned if you will take the 
pains and have patience until you learn the system thor- 
oughly. The material to use is gasoline or purified benzine, 
which is not quite so odorous. Both are highly inflamma- 
ble, however, and the vapor arising from them is explosive 
if in reach of fire, so this work should never be done at 
night, nor in a room where there is a lamp or fire in the 
daytime. Use a bowl and pour into it enough of the liquid 
to cover the gloves, wetting them thoroughly. Then smooth 
one of them out on a clean board and with a soft brush, 
sponge or cotton cloth, rub them carefully, one way only, 
from the wrist to the finger tips. If the first bowl of ben- 
zine becomes soiled before the gloves are thoroughly cleaned 
throw the liquid onto the ground and start again with some 
fresh. 

When you finish rinse and squeeze out in the clean ben- 
zine until they are as dry as possible, after which put them 
in the sun to continue drying. Have a clean, smooth stick 
about a foot long and rounded and tapered like a finger, and 
over this draw each finger of the gloves in turn, holding It 
smooth there while you rub it dry with fine soft muslin. 
When all this is done polish with white French powder ana 
a soft flannel, keeping the glove fingers tight on the stick 
all the time. Put the gloves on every little while during the 
drying process, so they will not shrink too small, and when 
all is done you will be delighted with the results of your 
work. 



179 





ro 



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1 80 



LIST OF ILLUSTRATIONS. 

PAGE 

Fig. 1. Front measures 21 

" 2. Back measures 22 

Measure Blank (front of waist) 23 

Measure Blank (back of waist) 28 

Measure Blank (sleeve) 40 

" 3. Sleeve 46 

" 4. Sleeve 47 

" 5. Sleeve 48 

" 6. Collar draft 49 

" 7. Cuff draft 78 

8. Front gore 84 

" 9. First side gore 84 

" 10. Second side gore 83 

" 11. Back gore 83 

" 12. Princess 124 

" 13. Princess 124 

" 14. Princess 124 

" 15. Wrappers 125 

" 16. Wrappers 125 

" 17. Wrappers 125 

" 18. Infants' garments (front) 133 

" 19. Infants' garments (back) 133 

" 20. Infants' garments (sleeve) 133 

" 21. Drawers 140 

" 22. Drawers band 140 

" 23. Band for underskirt 140 



PAGE 

Fig. 1. Front draft for boys* trousers 150 

2. Back draft for boys' trousers 150 

3. Pocket 151 

4. Pocket 152 

5. Even basting 155 

6. Uneven basting 155 

7. Back stitch 155 

8. Overcasting 155 

9. Overhanding 156 

10. Hemming 156 

11. Cat-stitching 157 

12. Cat-stitching 157 

13. Featherstitching 157 

14. French seam 158 

15. Fell seam 158 

16. French hem 158 



INDEX. 

PAGE 

Applying velveteen 93 

Applying fur trimming 168 

Armhole measure 16 

Arm measurements 36 

Arranging for hooks and eyes 55 

Back measure 15 

Basting lining of waist 48 

Basting material on lining 68 

Basting the skirt 89 

Bertha collars 78 

Bishop sleeve 43 

Bias bands and folds 161 

Blouses 76 

Boning the waist 55 

Box-plaits, small 167 

Box-plaits, double 167 

Bust measure 15 

Button holes 159 

Buttons, sewing on 160 

Button moulds 160 

Cat stitching 156 

Chest measure 16 

Circular yoke 163 

Circular flounces 162 

Circular graduated flounces 163 

Circular skirt 102 

Cleaning delicate fabrics 175 

Cleaning velvets 178 

Cleaning kid gloves 179 



PAGE 

Collar pattern, how to draft a 72 

Collars, sailor and bertha 78 

Collars, soft 78 

Coats and cloaks 113 

Copying from fashion plates 147 

Cording 164 

Cuffs, draft a circular 74 

Cutting the skirt 88 

Cutting twills and woolens 109 

Dart rules 27 

Designing and selection of materials 143 

Drafting front of waist 17 

Drafting back of waist 24 

Drafting, irregularities in 33 

" a circular cuff 74 

" front gore 80 

" front side gore 81 

" boys' knee pants 149 

" back of knee pants 150 

Draping a waist 60 

Dressing sacques 123 

Dressmaking shop, fitting up a 169 

Drop skirt, how to finish 99 

Elbow sleeves 48 

Evening waists 62 

Eyelets 159 

Fabrics, cleaning delicate 175 

Fashion plates, copying from 147 

Feather stitching 157 

Fell seam 158 

Fitting a lining over a form 58 

Fitting the skirt 89 

Fitting up a dressmaking shop 169 

Five-gore skirt 100 



PAGE 

Flare skirt 103 

Flannels, washing 173 

Flounces, circular 162 

Foundation skirt, how to finish same 99 

French seam 158 

French hem 158 

French knots 159 

French shirring or gathers 165 

Front measure 16 

Fur trimming, applying 168 

Girdles 163 

Gores 80 

Gores, drafting front 80 

" drafting first side 81 

" drafting second side 82 

" drafting back 85 

Hand measure 36 

Hemming 156 

Hemstitching 157 

Hooks and eyes, arranging for 55 

Hooks and eyes, covering 55 

How to proceed 14 

How to draft a collar pattern 72 

How to finish a drop or foundation skirt 99 

How to construct a form for one's own use 171 

How to wash infants' underwear 174 

How to clean and keep lace 175 

Household recipes 173 

Infants* first outfit 126 

Irregularities in drafting 33 

Jackets 113 

Knee pants, drafting boys' 149 

Knots, French 159 

Kid gloves, cleaning , 179 



PAGE 

Lace, how to clean and keep 175 

Lace, sleeve 43 

Lining, tracing the 30 

Lining, fitting the sleeve 50 

Leg-0-Mutton sleeve 41 

Lining, basting the material on the 63 

Little girls* dresses 129 

Little boys' clothing 132 

Loops 160 

Making straps and bands 96 

Matching figures and plaids 124 

Mode of applying trimming 166 

Muslin underwear 134 

Neck measures 15 

Neck rules 27 

Nine-gore skirt 100 

Padding 91 

Pants, drafting back of 150 

Pinking 166 

Peplum, the 112 

Plain tight fitting waist 67 

Plaited skirts 104 

Plaits, simple side 166 

Pressing 64 

Princess 169 

Proportioning the skirt 87 

Running stitches 16 

Ruchings 165 

Sailor Collars 75 

Sewing on buttons 160 

Selection of materials and designing 143 

Sewing stitches 154 

Single side plaits 166 

Shirrings 164 



PAGE 

Shirrings, tucked 164 

Shirrings or gathers, French 165 

Shirred skirts 105 

Shirt waists 66 

Shirt waists, fitting 67 

Shoulder measure 16 

Small box-plaits 167 

Skirt measurements 79 

Skirt, the Ill 

Skirt measurements, testing 86 

Skirt, to proportion the 87 

Skirt, cutting the 88 

Skirt, basting the 89 

Skirt, fitting the 89 

Skirt, stitching the 92 

Skirts, finishing the bottom of the 92 

" walking 94 

five-gore 100 

" nine-gore 100 

circular 102 

flare 103 

plaited 104 

shirred 105 

Sleeve, the 35 

" measurements 35 

length of the 35 

" length of sleeve from shoulder to elbow 35 

" tracing and cutting the 38 

" different styles of 41 

" shirt waist 41 

Leg-0-Mutton 41 

" bishop 43 

lace 43 

" elbow 44 

fitting the lining of 52 



PAGE 

Soft collars 74 

Stitches 141 

Stitching lining and finishing seams 54 

Stitches, running 155 

back 155 

" overcasting 155 

" overhanding 156 

" hemming 156 

cat 156 

feather 157 

" French seam 158 

fell seam 158 

French hem 158 

Taking measurements 14 

Tailor made suits 107 

Testing measurements 29 

Testing skirt measurements 86 

To restore the finish to old goods 176 

To make old cashmere look new 177 

To restore color to faded ribbons 177 

To restore rolor destroyed by acid 178 

Tracing the lining 30 

Trimming, mode of applying 166 

Trimming, applying fur 168 

Twills and woolens, cutting 109 

Tucked shirring 164 

Underarm measure 16 

Underwear, muslin 134 

Velveteen, applying 93 

Velvets, cleaning 178 



PAGE 

Waist measure, the 15-16 

basting lining of 48 

boning ^^ 

draping "" 

evening ' "^ 

plain tight fitting 62 

short 66 

Walking skirt, finishing the bottom of 99 

Washing flannels ^'^^ 

Washing cotton goods without fading I'^'S 

191 

Wrappers 

Width of back ^6 

Wrist measure ^6 

Yoke, circular ^63 



f* 



The American System 

requires no charts, patterns or mechanical 
devices of any kind. It is most thorough and com- 
plete in every detail, and yet is wonderfully simple and easily 
mastered. We positively guarantee that after completing this 
course of instructions you will be able to 

Design. Draft, Cut, Fit. Make. Drape 
and Trim any Garment from the Simplest 
Apron to the most Elaborate Evening Gown 

<»rBcliiatc Dressniakci'S Wanted at Once in many good 
towns and cities. Most inviting field offered women. 

Aaft A WEEK Paid to E.vpert Dressmakers. Many 
Receive Mnoh More. Take our course at home by mail and 
prejiare yourself for one of these high grade positions. 
_, _ D • Dressmaking is the ideal occupation for 

Go Into Bust- women. Our graduates open up estab- 

ness for Yourself lishments of their own and are wonder- 
fully successful. 
m, , „ -. _, ,. Can you do your own sewing, or 

Make Your Own Clothing could you if necessary? We will 
Dress Better at Less Cost t«a<:h you so that you can dress 
far better at much less expense. 



Inexpensive and Easily Made dressed. Ready-made 

garments are far from 
satisfactory. Our system thoroughly covers the subject of design- 
ing cutting, and fitting of children's clothing. 

Full Course of 20 Lessons all Fully Illustrated. 

Write today for our FREE handsome illustrated catalogue giv- 
ing complete outline of course, testimonials and names of hundreds 
of i)Ieased students from every state in the Union and many from 
foreign countries, all of which will be sent free. 

AMtRICAN COllEOE OF DRESSMAKING, College Bidg., Kansas City. Mo. 



i'L'i'li"U"l."l»i'l 



' 'Jiia ' iTi ' , i ; i' , i :'X ' iTiT' ' . i :i ' j;iTi'j. ' 'a'ijjia!i ' j. ' i'j;i ' X ' ' ' .iji ' X ' i ' .L'i'j. ' 'iJ. ' ijj'ii. 'i 



h^ 



AS AMERICAU COLLE(jE SEADOiOE 
IN BUSINESS FOR HERSELF 



-.r^^'^TT 



YOUNO LADY QRAPUATE MAKING 
HER OWN PRESSES 



AN AMERICAN COLLEGE GRAPOATE 
MAKINQ HER CHUPREN'S PRESSES 



FREE 




Many women nowadays are earning $100 a week— $.5000 a year 
by dressmaking. One woman, the head designer of Chicago's 
largest retail dry goods house, earns tlO.000 a year. Salaries of 
$35.00 to $50.00 a week are common, tearn dressmaking 
at home. We teach you by mail and put yoa in a position t© 
command the largest salary of any woman In yoar locality, or you 
can start In business yourself. Become a Graduate Dress- 
maker. The regular Diploma of the College Issued to all who 
complete this course of lessons. The American System requires no 
charts or patterns. These lessons will teaon you how to draft your 
own patterns and make your own clothes and enable you to dress 
better at one-third the usual cost. They teach you how to Design, 
Draft, Cut, Fit, Make, Drape, and Trim any garment, Including 
children's clothing. This College is endorsed by all high grade 
Fashion Magazines— Delineator, Designer McCalls, Pictorial Re- 
view, New Idea Woman's Magazine, Moatrn Prlscilla, House- 
keeper, etc. 

THIS BOOK SKNT FBBB. We have puDlished 10,000 of these 
copyrighted books to advertise this College, and — while they last- 
will send you a copy free. Write for it today. One copy only to 
each woman. 

AMERICAN COLLEGE OF DRESSMAKING, 

145 College Building. ICANSAS CITY. MO. ^ 



AMERICAN 
SYSTEM 

DRESSMAKING 




POST- GRADUA TE 
LESSON NO. I 



^'^'^'^ "^itlf islf'^^'il? 



TAUGHT ONLY BY THE 

{Copyrighted 1906 6y /. il/. Steele, President.) 
Miss Merwin, Supervisor. 

POST-GRADUATE LESSON No. J 

INTRODUCTION 
Of the many iuveutions of recent years of devices to aid the Dress- 
maker in adding to the comfort and appearance of her customer, probably 
that of Warren's Featherbone as a substitute for whalebone is the most 
important. Until recently Dressmakers were averse to using anything 
but . genuinej; whalebone, but on account of the waning of the whale- 
bone industry, the price has so advanced that it is beyond the reach of the 
majority. We now have a substitute, Warren's Featherbone, which is 
sold by the yard and is so much less expensive and more satisfactory, that 
it is used almost universally. The story of its invention and the discovery 
of the many and varied places of utility in women's apparel awaiting its 
coming, will prove of interest to every dressmaker. 

THE VARIOUS FORMS OF WARREN'S FEATHERBONE 

There are as many different forms of Warren's Featherbone as there 
are uses to which it is to be put. There are 26 different Etyles of Warren's 
Featherbone for the dress alone, composed of different amounts and quali- 
ties of quill fibers, hence varying in weight and in the degree of flexibility. 
There are 10 styles of covered and 5 styles of uncovered bone for the 
waist, 4 styles for the collar, Warren's Featherbone Orinolette and 5 styles 
of bone for the skirt, and 4 styles of Warren's Featherbone Cord used for 
cording, piping and shirring. 

Dressmakers should be acquainted with all the 26 styles of Warren's 
Featherbone, and know for which kind of work each style is adapted, and 
use the size or style of bone which will give the best results in the work 
on hand. 

The following illustrations show sections of these different forms of 
Warren's Featherbone. 



Piping Bone 
Eyelet Bone 



Hook & Eye, )^ in 



i!|«W»V»^¥3«-|!Sr>W#'i'>» ' 



Oablebone 



Double-cord Skirtbone 



Skirtboue 



Tailor's Boue 



Silk Collarbone 



»w^yjlf^.jJ.Jr.4^*/;5a/fVS>>v|fr*#K»fl'</*; /»>• /•/ • 



Single-cord Collarbone 



Taffeta Ribbon Collarbouf 



:$m^^m^Qm 



X-in. Soft Finishing 



5 cord Tape 




Quillbone 




Twill 



Standard Grade 



No 2 Grade 




H. B. Tape 



jv-^t?'. O..Cl,-^-.^a.^^^ .J.. 



'^i- ^ri ;T\ ,1, ;•. 



3-cord Tape 



Cotton 



Bfrfvro 







Moire 



Pru.M: 





Shellbone 



Washbone 









L. 






Satin 



lO-cord Tape 



TO BONE A WAIST 

All dressmakers know that the secret of a perfect- fitting waist is to 
have it properly boned As Warren's Featherboue is stitched fast all the 
way to the seams by machine, it becomes a part of the waist and never 
pulls out, nor does the waist lose its shape. 

SPRINGING IN THE BONES "Springing" is simply stretching the 
goods so that there is more bone length than seam length; this curves the 
waist toward the figure; tliBrefore the amount of spring required depends 
upon the amount of curve to the figure. The rules given in this lesson are 
for the average normal figure. 

Be sure to use sewing silk, a very long stitch and medium-sized 
needle AH the seams must be carefully pressed and finished before be- 
ginning to bone a waist. Straighten the bone by drawing through the 
fingers to remove the curve caused by coiling in the box. 

Place the Featherbone wrong side up under the machine foot, pass 
the needle through the center of the bone, in the center row of stitching, 
allowing one inch to project back of the needle for finishing the ends. 
Draw the bone straight toward yon, drop the presser foot, then place the 
4)oning attachment over the bone so as to guide it under the needle (as 



shown in Fig. 1), securing it in place by tightening the thumb screw. 
Now raise the needle and presser foot aod you are ready for boning. 
DARTS. Place the waist wrong side up on the machine (as in Fig 2). 
Begin by boning the first dart. Lay the flatly pressed open seam on top 
of the bone and boning attachment so that the bone is right in the center 
of the seam (See Fig. 2). Pat the needle down about one inch below the 





FIG. I 

top of the dart, close to the seam stitching, crowd the goods (using the 
forefinger of each hand) up to the needle, lower the presser foot, and cut, 
being sure the fullness starts Tight with the first stitch or from the needle 
(see arrow. Fig. 2). This is an important point, as it prevents the bone 
from showing at the top, or causing a little plait above the top of the 
dart. Continue crowding to within one inch of the waistline, following the 
seam stitching very closely, but never in the same stitching, then hold the 





FIG. 3 



FIG. 4 



seam very firm to the bottom of a short waist. Bone both darts alike. 

UNDERARM SEAMS. Begin to bone two inches from the top; 
crowd the seam for two inches; for extra thin material hold the seam 
easy to within an inch of the waistline, then spring; for regular weight 
material, stretch the seam to within an inch of the waistline, then spring^ 
the bone by raising the waist back of the presser foot and pressing it up 
close against the foot, at the same time holding the seam tight in front to> 



one inch below the waistline and continue easy to the bottom of the short 
waist. (See Fig. 3.) For tea gowns, princess gowns, long basques or 
coats, spring well to the curve of the hips, then crowd the goods toward 
the needle, giving the curve over the hip and preventing any tendency in 
the waist to roll up. 

BACK UNDERARM SEAM. Be sure that this seam is fitted snugly 
at the armhole. The next seam back of the underarm seam is the im- 
portant one to be kept smooth its entire length; it is boned the same as 
the underarm seam. This seam is sometimes boned its entire length, that 
is, clear to the armhole, and is crowded to one inch above the waistline to 
prevent the bone from bulging, then sprung the same as the underarm 
seam. When stitching in the sleeve, stitch right through the bone, then 
trim the bone down to the seam and finish by fastening the ribbons over 
the edge of the seam. 

THE ROUNDING SEAM. The rounding, or outside back seam is 
boned only on its straight length; that is, begin to bone where the round- 
ing or curving ends, proceed as before, crowd the goods to one inch above 
the waistline, then hold the seam firm. 

CENTER-BACK SEAM. Begin one inch higher than the rounding 
seam, crowd to one inch above the waistline, then hold the seam very 
firm. The waist is now half boned. Keep on toward the right front of 
the waist, boning as directed, thus working from back to front on last 
half of the waist. 

TO BONE A LINING. In boning linings the seams will need less 
springing at the waistline than waists that are lined. If the waist re- 
quires boning between seams it should be done before the outside is basted 
on. 

FINISHING BONES AT THE TOP. You have allowed on each 
seam one inch of bone to extend beyond the needle; first, tie the thread so 
that the stitching cannot rip; rip the center row of stitching out of the 
extended bone: slip the casing back and cut the bone off one- half inch, 
rounding the corners, then turn the casing loosely over the end of the 
bone and fasten to the bone and NOT to the seam of the waist, thus leav- 
ing one-half inch of bone loose at the top of each seam. 

TO RIP WARREN'S FEATHERBONE from the waist, begin at the 
top and with sharp scissors inserted between the bone and the seam, run 
them quickly down the bone, cutting right through the stitching. 

HOOK AND EYE BONE. Tate off the attachment, lay the waist 
right side down on the machine with the front hem opened out flat. 
Place the bone inner curve down, thusz-'^v ; start the bone one inch below 
top of darts; the bone must lie just outside of the basting line (where the 
waist is to turn back on front) ; take a few stitches at the top of the bone 
to hold in place, then crowd for about two inches, and stitch plain to the 
bottom of the waist 

WARREN'S FEATHERBONE TAPES are generally used around 
the edge of the basque or waist instead of canvas, when style requires the 
use of such stiffening material. The Three-Cord Tape is used for light 



fabrics and short waists; the Five-Cord for heavy materials and pointed 
basques. You can readily see that the wider Tape would not set well 
about the short waist 

Place the Tape igiach below the ends of the bones which you have 
trimmed slanting to correspond with the waist edge. Stitch along the 
upper edge of Tape, being careful to use the Tape inner curve down, thus -'*"^. 
After starting the stitching across the darts, take hold of the edge of the 
waist back of the machine needle, and hold it well toward the right; keep 
the Tape smooth and stretch the goods a little between back dart and 
underarm seams, as turning up the Tape to finish brings it to a point 
where the distance around the waist is less than at the edge, and the Tape 
should be smooth when folded up This is an important point. Turn up 
the Tape under the end of the bones, and fell the top of the Tape to the 
waist lining, then fell on the facing 

TO BONE A COLLAR Four to six bones are used; as best suits the 
wearer. Two bones are tacked in about 1^ inches from the center front, 
two more at a point just back of the ear when adjusted, and one at each 
end, the bones back of the ears being cut slightly longer than the front 
bones. Warren's ribbon-covered Collarbone may be used without ad- 
ditional covering, or a Warren's Featherbone Stock Foundation may be 
used as a skeleton collar. 

WARREN^S FEATHERBONE IN DROPSKIRTS 
AND PEmCOATS. 

To bone foundation skirts or petticoats of the ordinary shape, stitch 
a % inch bias band, to form a casing, just under the top of a lOinch 
plaiting or ruffle and two or more above this about six inches apart. In- 
sert in thes3 casings Double-Cord, Three-Cord or Five-Cord Tape, or 
Skirtbone, according to the weight of the dress skirt. The bone should be 
tacked at intervals on the edges, to prevent twisting. Should the founda- 
tion be too full, fasten the bone firmly at the side back seam and draw the 
bone in at the back. If preferred, instead of stitching casings on founda- 
tion, the covered Skirtbone (silk or cotton) can be stitched through the 
center of the bone on to the skirt, being careful to neither stretch nor 
pucker the skirt dnrine this operation. Always place Crinolette in the 2- 
inch hem of the foundation. 

FEATHERBONE IN LATE FASHIONS. 

The most marked departure in Fashions in several seasons is the return 
to vogue of the fitted and Princess styles. The blouse with more or less 
dip, held sway so long that its position was declared by some invulner- 
able. Its advocates shrugged with dismay at the idea of the tight boned 
bodice. Nevertheless, the boned bodice is here, minus the uncomfortable 
features of its ancestors and plus many new graces of fit and outline. 

The Princess gown is shown in all fabrics, from sheerest batistes and 
chiffons to richest silks and velvets. In each and every case its success is 
dependent on its fit. No beauty of fabric or richness of material can 
cover up shortcomings of fit in this mercilessly truthful style. The suc- 
cess of the Princess garment, either the whole dress or the skirt, is very 



largely dependent on its proper boning. And Warren's Featherbone in 
this, as in many other fashions, is the first and sure and only aid to right 
results. 

The dressmaker who understands the method of boning a waist perfect- 
ly with Warren's Featherbone faces this present era of the Princess in 
fashions without fear or misgiving. The "new Figure", which is so well 
brought out in the new Princess forms, has a gracefully tapering waist- 
line, apparently, if not really, smaller than it has been for some seasons. 
Every detail that tends to the real or apparent reduction of the waist 
measurement is counted vastly important today. 

Featherbone is a genuine aid to this all-desired end. With Gros Grain 
Waistbone, or the splendid Shellbone, a waist is boned smoothly and in 
most charming lines Featherbone is stitched firmly to the waist seams, 
not sprung from them as is whalebone, the latter method raising the 
waist fabric from the bone and thus increasing the waist measurement. 

To decrease the apparent size of the waist and keep the proper balance 
of the hip size, the sleeve tops must contribute a broad or built-out effect. 
This effect is sometimes obtained by the arrangement of the trimming; 
but more often, since sleeves are smaller and plainer, by the use of some of 
the many forms of Featherbone to give a broad effect. A little cap may 
be made of the waist lining, with a fine ieatherbone cord run in the lower 
edge. The cord is soft and pliable, yet perfectly resilient. It gives just the 
desired extention to the shoulder line without a hint of stiffness. 






Bonillonne trimmings, while introduced fully a year or so ago, continue 
high fashion The fine Featherbone Cord is run in the hems of bands or 
in tiny casings of silk, and these arranged in any fanciful design desired. 
The Featherbone Cord naturally arranges itself in most graceful curves 
and is extremely easy to work with. Lace stitches are often employed in 
carrying out the design of the bonillonne, these stitches being done in 
heavy embroidery silk. Plain, straight cordings, done over fine Feather- 
bone Cords, are extensively used as a trimming this season. 

The fitted waist forms make important the Hook and-Eye Bone, which 
holds the garment smooth and perfectly fitted at its closing seams. Its 
method of insertion has already been described in this lesson. 

STOCK OR COLLAR FOUNDATIONS. 

Never was there a time when stocks or collars played such an important 
part in woman's apparel as at the present time. There is no end to them, 
because of the fact that the collar usually wears shabby far quicker than 
the remainder of the waist. The beauty of these collars depends largely 
upon the neatness with which they are made. 



Warren's Featherbone has made a royal road to satisfactory neck- 
dressing. Featherbone Collar Fcundations make collar making a pastim* 
and collar wearing a joy. Perfectly shaped and accurately fitted collars 
of fine monsseline de sole are surported with strips of this Featherbone 
Collarbone and the whole neatly bound. Tack your trimming on this 
foundation and add hooks and eyes if that is your favorite method of 
fastening. 

The lace and transparent collars are wholly dependent on Featherbone 
for their success, if not for their very existence. The sheerer the founda- 
tion, the thinner the supports, the better the effect, says Fashion. Re- 
member that you can sew right through Featherbone; thus the covering 
may be tacked right to the Featherbone stays, which then bear all the 
strain. 

Collar Foundations are made in round and pointed styles, in both black 
and white. They come with or without a Featherbone run in the top and 
bottom binding. There are different grades, the finest of them stayed 
with silk covered Featherbone and bound with satin. 

No woman who has worn lingerie waists that has not entered against 
this charming style one special complaint, namely, that the collar crump- 
les down and grows mussy-looking long before the waist itself shows signs 
of soiling. At least this is her complaint if she is not thoroughly familiar 
with the many applications of Warren's Featherbone. She can overcome 
this difficulty in several ways. She can tack strips of silk-covered Collar- 
bone in the collar at proper intervals, or she may prefer the fashion of 
tacking in the whole soft collar. 

Embroidery, which has taken such firm hold of every detail of feminine 
dress this season, will find a very prominent place in neckwear. Here 
Featherbone Foundations are especially useful because the worker may, if 
she chooses, and she often does, tack her material over a soft Featherbone 
stock and work the embroidery right through the monsseline de sole and 
the fine Featherbone also. 

A good suggestion is a collar and cuff set embroidered on the light-color- 
ed cloths, a Japanese pattern being used, with touches of gold braid. The 
cuffs should be stayed with Featherbone Tape around the edges, as the 
flaring turn-back cuff invariably loses its smart appearance in a very short 
time unless so fortified. Other embroidered stocks have the covering 
embroidered first, thoroughly pressed, and then tacked to the Feather- 
bone Foundation. 

Dainty lace stocks are quickly arranged over the low, soft foundations. 
Lay together the straight edges of two strips of inch-wide Valenciennes or 
Cluny lace, and whip neatly, finishing one end straight and the other 
cornered, to overlap. Tack to the Featherbone Foundation and the collar 
is ready for wear. 

Among the most dainty of the new neck-dressings are the stocks of 
fine linen, hand- embroidered and lace-trimmed. The linen used is 
extremely fine but not sheer. The stock proper is adjusted 
over a Warren Featherbone Foundation. A long tab end reaches 
quite below the bust line, broadening out to admit lace medallions. 



WARREN'S STOCK FOUNDATIONS 




STYLE 1 Stock Foundation. Washable. Of fine lawn; sapports of 
"Warren's Featherbone. No bone in top or bottom binding. Round and 
pointed 




STYLE 2 Stock Foundation. Of mousseline de soie ; supports of War- 
ren'.? Featherbone. Round and pointed. 



STYLE 4 Stock Foundation. Of mousseline de soie ; supports of silk- 
covered Warren's Featherbone Collarbone. Satin bound. Round. 




STYLE 5 Stock Foundation. Same as Style 4, but in pointed shape. 
Finest foundation made. 

All Warren's Stock Foundations come in sizes 13 to 16; heights l^.i to 
2l4 inches: in black and white. 




Embroidered linen 
stock over Warren's 
stock foundation. 



which are embroidered into place and the linen cut away beneath 
with excellent effect. Two little ends of the linen mark the beginning of 
the long tab. These, the tab and the stock itself are finished in fine 
buttonhole stitch, with a border of eyelet design. 
A frill of narrow Valenciennes edges the tab. 

The Featherbone Stock'Foundation is worn 
with the greatest success under any sort of soft 
neok-dressing, be it ribbon or silk or a fancy 
stock with tie ends, or a plain stock. Not one 
woman in a thousand can wear a stock collar 
neatly without the help of Warren's Featherbone, 
and the one who can achieve a neat neck-dressing 
without it invariably acquires discomfort, be- 
cause she must needs wear her neck-dressing too 
tight in order to keep it in place. 

The Warren's Stock Foundations are made in 
varying heights, from 13^ to 2;^ inches. There 
are the low soft stocks that so many women 
prefer, and also the extreme heights for the long 
and slender cecks. A new Foundation is cut to 
slope well up under the ears, the bones arranged 
slantwise. This is a collar style much advocated 
in Paris 

GIRDLE FOUNDATION 

If yon inquire of any one interested in feminine fashions what she 
considers the most distinctive feature of women's costume in the last 
year and a half, the answer invariably is, the Girdle 

Warren' s Featherbone is the 
heart and soul of the girdle vogue! 
It shapes itself closely in to the 
figure as does no other boning. 
It is easily worked, as it may be 
sewed through readily by hand or 
machine, and in this way, the 
drapings may be caught at the 
most convenient point, and al- 
ways at the point of fastening, 
which holds the draping stretch- 
ed firm — a most essential fact in 
successful girdle effect. 

The Princess style which for 
the past season has been shown by 
the best designers, is an effect 
easily produced by the skilful use 
of the girdle. One of the most 
satisfactory so-called princess 
gowns shown at a recent opening 




Taffeta Girdle made over 
Sytle 5 Foundation 




was really a two-piece garment, held together iu design by a wide lace 
girdle, the lace lined with chififon and the whole held smooth to the figure 
with a boning of Warren's Featherbone. The narrow tape was used for 

this in preference to the waiftbone, and 
as it was covered over with several folds 
of the chiffon, it was not discernible 
through the meshes of the lace. 

The sash girdtes that are so fashion- 
able now in the thin summer frocks are 
most successfully arranged on the girdle 
foundations that fasten in the back. 
The Foundation Style 2 may be laced in 
the back instead of the front and arrang- 
ed as a sash girdle; the Style 12 and 
Style 8 are also excellent shapes for this 
purpose. 
Every one of the Warren's Featherbone Foundations is designed with 
a defiuite view of suiting a certain type or style. 

The Style 4 is perhaps the general choice, and best adapted to the 
average requirements. Style 5 is an extreme corselet effect for the slender- 
waisted. The three Featherbone strips in the front hold this girdle in the 
fashionable straight-front effect. The Style 6 fastens in the back, and is 
very often draped with some fanciful cross-front arrangement. 

Style 8 is a good form for the rather large figure, as it has a good, 
deep front point, narrow sides and a modest depth in the back. Style O 
IS a back-fastening girdle designed for the short waisted figure and is 
modest in all its lines, avoiding the pronounced effect that tends to call 
attention to any lack of symmetry. Style 12 is a back-fastening girdle of 
much the same lines as the Style 8 and is well adapted to the general figure. 




STYLE Girdle Foundation, 
ening 



For short-waisted figures. Back fast- 




STYLE 1 Girdle 
Featherbone. 



Foundation. A tape frame; supports of Warren's 



si'YLE 4 Girdle Foandation. Front lacing, pointed above and below 
waistline in back. 




STYLE 6 Girdle Foundation For medium figures. Back fastening. 
Deep front point. 




STYLE 8 Girdle Foundation. For medium and stout figures. Back 
fastening. Deep front point. 




STYLE 10 Girdle Foundation. Like No. 4, but without point below 
waist in back. 




STYLE 12 Girdle Foundation Suited to the average figure. Back 
fastening. Moderate front and back points. 

All Warren's Girdle Foundations come in waist measures 20 to 34 inches, 
in black and white. 



JUL 13 190? 





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